S05.26: Dueling in Romance with Chels: Duels are Never Having to Say You're Sorry
Pistols at dawn, y’all! We’re talking about duels today — what they are, why they exist, who fights them, their rules and why they’re so darn sexy when they are really just silly. We’re taking our twenty paces alongside Chels_ebooks, one of our favorite BookTokkers, who has a longstanding love of old school romances and their covers, and a substack that you should subscribe to immediately. Of course, we’re talking TikTok, too. This one is long and fun and full of book recs, so strap in!
You can still get tickets to Fated Mates Live! Join us on March 24 in New York City with Tessa Bailey, Andie J. Christopher, Mila Finelli, Adriana Herrera, and Joanna Shupe! Amazing stories will be told, many laughs will be had, terrific books will be on sale, and there will be a bar! Get tickets now!
Our first read along of 2023 (soon! we promise!) is Tracy MacNish’s Stealing Midnight—we’ve heard the calls from our gothic romance readers and we’re delivering with this truly bananas story, in which the hero is dug out of a grave and delivered, barely alive, to the heroine. Get ready. You can find Stealing Midnight (for $1.99!) at Amazon, B&N, Kobo, or Apple Books.
Show Notes
We are thrilled to welcome Chels, the Reigning Monarch of Bodice Ripper TikTok, to the show today. You can also follow them on twitter and subscribe to their substack, The Loose Cravat. In concert with this episode, Chels wrote an essay called Duel, Interrupted: The Underlying Homoeroticism in historical romance's favorite pasttime.
Wondering about those TikTok hit pieces we mentioned? Read the ones from British GQ and London Review of Books. It’s a few years old, but this Wall Street Journal video is a great look at the mysterious TikTok algorithm and how quickly it will rabbit hole you, and a more recent piece from Vox about TikTok’s recent promises to become more transparent, and another one from The Verge about how TikTok suppresses content from disabled users.
The relationship between BookTok and bookselling is complex and difficult to parse because of the lack of transparency around book sales. Check out Where Is All the Book Data by Melanie Walsh, as well as how book-buying habits changed during the pandemic.
Deloping is bad, actually! So If you’d like to learn more about duels, Chels recommends Pistols at Dawn by Richard Hopton and The Duel: A History of Duelling by Robert Baldick. Jen recommends this article about dueling from JSTOR Daily, or this one about American dueling in the Smithsonian, which led her to the Code Duello as one example for the rules of dueling.
Speaking of moral panics, JSTOR Daily has a list of them! I told you it was a good site!
Deuling in pop culture: check out The Duelists by Ridley Scott, this famous scene from Raiders of the Lost Ark, and of course, Hamilton.
For some real historical duels, check out: The billiards balls duel, The topless lady duelers in Austria, additional ladies being badass, Humphrey Howarth the naked dueler, and Burr and Hamilton. Senator Brooks caning Senator Sumner on the Senate floor is another thing entirely.
Finally, check out this page from Loretta Chase’s website which describes and links to several videos about the Singing bird pistols from Lord Lovedon’s Duel.
Books With Dueling
Other Books Mentioned This Episode
Sponsors
Mila Finelli, author of Mafia Target
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Juniper Butterworth, author of Shipwrecked: Being a tale of true love, magic & goats
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S04.18: Jayne Ann Krentz: Trailblazer
Our Trailblazer episodes continue this week with Jayne Ann Krentz, who has done it all: writing for Vivian Stephens, writing historicals, writing contemporaries, writing space-set, fantasy, and paranormal romance, writing nonfiction about romance. In addition to managing life as JAK, Amanda Quick, Stephanie James and more, she’s also a legend of the genre because of her vocal resistance to the way society, literature and academia talks about romance novels.
In this episode, we talk about her journey and the way she continually reinvented herself to keep writing, about the importance of writers’ core stories, about genre and myth making, and about the role of romance in the world. We could not be more grateful to Jayne Ann Krentz for making time for Fated Mates.
Next week, our first read-along of the year will be Lisa Valdez’s Passion, an erotic historical published in 2005 that is W-I-L-D. There is a lot of biblical stuff at the world’s fair. Also some truly bananas stuff that…sticks with you. Get it at Amazon, Apple, Kobo, or B&N.
Thank you, as always, for listening! If you are up for leaving a rating or review for the podcast on your podcasting app, we would be very grateful!
Show Notes
Welcome Jayne Ann Krentz, she has had lot of pen names, including Jayne Taylor, Jayne Bentley, Stephanie James and Amanda Glass. Now she publishes under 3 names: Jayne Ann Krentz (contemporary), Jayne Castle (speculative fiction romance), and Amanda Quick (historical). She has said, “I am often asked why I use a variety of pen names. The answer is that this way readers always know which of my three worlds they will be entering when they pick up one of my books.”
We read Ravished for the podcast in 2021, or three decades ago. You know how it goes in these pandemic times.
People mentioned by Jayne: editor Vivian Stephens, author Barbara Delinksy, author Amii Loren, agent Steve Axelrod publishing executive Irwyn Applebaum, author Susan Elizabeth Phillips, author Kristin Hannah, author Debbie Macomber, author Christina Dodd, author Rachel Grant, author Darcy Burke, editor Leslie Gelbman, editor Cindy Hwang, editor Patricia Reynolds Smith.
Jayne Ann Krentz 0:00 / #
The thing about genre, the reason it even exists at all, is because it's the device and the mechanism by which we send our values down to the next generation. It's the way we affirm them to ourselves throughout our life, and it's the way a culture keeps its culture intact. It's the myth of the core value of that civilization, whatever it may be, that is going to go down through history and it survives or it doesn't survive, and that's what genre does, it carries the myth.
Sarah MacLean 0:35 / #
That was the voice of Jayne Ann Krentz. I am so excited! (laughs)
Jennifer Prokop 0:42 / #
Jayne Ann Krentz has written, probably, hundreds of romance novels at this point. Her major pen names right now are Jayne Ann Krentz, under which she writes kind of contemporaries, Jayne Castle is where she kind of puts all of her kind of speculative fiction novels, and Amanda Quick is what she writes historicals under, but she has been around for a really long time. She's going to start off by talking about her many pen names, which also include Jayne Taylor, Jayne Bentley, Stephanie James and Amanda Glass.
Sarah MacLean 1:13 / #
Amazing. This conversation, I've had the absolute joy of, you know, sharing meals with Jayne Ann Krentz, and so she is, I knew she was going to be remarkable, but this conversation really, gosh, I felt better for it at the end. I felt smarter about romance at the end, and I felt motivated in a way that I haven't felt motivated in a long time.
Jennifer Prokop 1:13 / #
Yeah, absolutely. Welcome to Fated Mates, everyone. What you're about to hear is our conversation with Jayne Ann Krentz which we recorded last fall in 2021.
Sarah MacLean 1:52 / #
Thank you so much for coming on and making time to join us for this. We're really thrilled to have you! We are avowed Jayne Ann Krentz, Amanda Quick, Jayne Castle fans. Stephanie James fans here! (laughter)
Jayne Ann Krentz 2:09 / #
Wait, let's not name all the names, that just makes me feel like I've been around forever. (laughter) I will say that was never the plan at the start. That was not part, there was no plan to be honest, but if there are any aspiring writers out there, one piece of advice for your takeaway today is for crying out loud, do not use a bunch of different pseudonyms! (laughter)
Sarah MacLean 2:34 / #
Well wait, so let's talk about that, because why not? You have, how many were there? How many are there total?
Jayne Ann Krentz 2:43 / #
Too many and the reason was because back in the old days, a lot of the contracts tied up your name, and if you signed one of those contracts, which of course I did early on, because I just wanted to be published, and it was like no big deal. Everybody writes under a pen name. And then there were two pen names. Because once you leave that house, they've got the name. It stays behind. I don't, I doubt that that appears in modern contracts, I have not heard of that for a long time. But back at the start of the romance rush in publishing, that was not an uncommon feature in a contract. So that's how it started, but it got worse because at some point, I managed to kill off a couple of names including my own. And you do that by low sales, you know, bombed out sales, which we'll get to when we talk about what a fool I was to go into science fiction romance, but it was a good way to kill off your career that time and I did because I wrote under my Jayne Ann Krentz name. So when I destroyed that, I destroyed my contemporary career, and it was at that point that I had to really retrench and figure out how to restart and reinvent myself and that was when Amanda Quick came along. So Amanda Quick is a legitimately acquired pen name, I did that to myself. Jayne Castle happens to be my birth name. I managed to sign that away for awhile, and then Jayne Ann Krentz is my married name. So I'm just under those three now.
Jennifer Prokop 4:28 / #
Now it's just the three, right?
Jayne Ann Krentz 4:30 / #
Yup. (laughs)
Jennifer Prokop 4:32 / #
So I was just thinking, was this only in romance? Did this happen to mystery writers or other genres?
Jayne Ann Krentz 4:41 / #
I don't know, but I'm willing to bet that it was pretty common in the paperback side of the market.
Jennifer Prokop 4:45 / #
Yeah. Okay.
Jayne Ann Krentz 4:46 / #
I don't, yeah, I think it was just kind of a common thing. If you look back, a lot of writers who are writing mystery and suspense today acquired a pen name at some point along the way.
Sarah MacLean 4:57 / #
So I always wondered, you know, you and I have had a lot of conversations over the years, Jayne, about patriarchy and romance, and I always thought the pen names were because of the books, but I guess mystery and sci-fi writers also did the pen name thing.
Jayne Ann Krentz 5:14 / #
The thing about a pen name, if you can get, if the publisher can get that into the contract, all a writer has is her name, and if they tie that up, you're tied to the house. It was just hard business, hard business is what it was.
Jennifer Prokop 5:29 / #
Well and I remember is an early reader of romance in the '80s, when you finally figured out, "Wait, this person is this person?"
Sarah MacLean 5:38 / #
Oh, it would blow your mind!
Jennifer Prokop 5:39 / #
Yeah, because then you were like, "Wait, there's a whole new someone I can look for in the bookstore," or the used bookstore especially, right?
Sarah MacLean 5:47 / #
Wasn't there a Romantic Times, somebody published, every year there was a publication that was like an encyclopedia of the romance novelists and it would say the names, all the names that that particular person was writing under, which when I started, maybe I started 12 years ago, and that was the time when if you wrote in different genres, which I feel like is the Jayne Ann Krentz way, you write a different genre you start a different name, but yeah, now, it's far less common, I think.
Jennifer Prokop 6:17 / #
I think it's common now. I'll tell you how it's different. I think when people self-publish, they sometimes pick a different name, and I think if especially if the heat level is really different, right? So I've had author friends say, "Well I'm going to try my hand at maybe something more erotic, and you know, is this going to interrupt my brand?" So I feel like it's so much more in control of the author, as opposed to control of the house, so that's a big change.
Jayne Ann Krentz 6:47 / #
Yeah, I think that's very true now. This was the way it was just done in the old days, and the rules were different then.
Sarah MacLean 6:54 / #
Yeah, so let's go back before you were picking pen names. So tell us about, we love the journey, so tell us about the journey. How did you become a writer? And how did you become a romance writer specifically?
Jayne Ann Krentz 7:11 / #
You know I think I just, there was never a point along the way at which I felt I could write romance better than books I was reading. I loved the genre. I found the books, I didn't really find the genre in the way we, anywhere near what we would identify it as today, until I was in, after college, until I was in my '20s. And then that's when I stumbled into Harlequin. They were the only game in town and they weren't even in town. And that was, that did me fine for few, I don't know how long it was that when I was reading them intensely that, before I wanted to try writing one. And it wasn't that I thought I could do it better than the big names at the time, I just wanted to tell the story my way. Most of the stories I was reading, well all of them, looking back on it I think, were very much the British take on the fantasy. And that's a very specific and very tweaked different take than what most American readers respond to.
Sarah MacLean 8:16 / #
Well can you explain, can you talk about that? What does that mean?
Jayne Ann Krentz 8:20 / #
Okay, the quick and easy way to understand it, is that in the British romance, your heroine is marrying up. She's marrying the duke or some version thereof. In the American romance, it's much more of a partnership kind of approach to the romance, and what matters is the man's competence. It doesn't matter what he does, he just better be damned good at it, and that's what counts. So it's a different take. There's also more sass in the American romance, and that may come from our good old 1930s movies, you know, those screwball comedies, and the fast chatter-chatter back and forth from the the 1930s romantic, and often romantic suspense films. I don't know where it came from, but it's just, it was in the American romance almost from the get go. The voice is so different, and it's more of a conversational quick repartee. It actually isn't original with us. I mean that's what Georgette Heyer was doing, but it kind of fell away in the British romance that I was reading and came back big time in the American romance.
Sarah MacLean 9:35 / #
And so when you talk about this, the American romance, these books that you were reading, we're talking about categories, the early categories? Or are you talking about historicals from the '70s too?
Jayne Ann Krentz 9:47 / #
I didn't start reading - (laughs) confession time.
Sarah MacLean 9:51 / #
(laughs) Good! Let's do it.
Jayne Ann Krentz 9:53 / #
I never read historicals. I wanted the contemporary story. I wanted romantic suspense and that was to be found in a contemporary setting in those days. So I never was drawn to the historicals until I managed to kill off my Jayne Ann Krentz career and I had to reinvent myself as Amanda Quick, and then I was starting from scratch because I had no idea how those books worked.
Jayne Ann Krentz 10:18 / #
So, but I'm a librarian, so...
Sarah MacLean 10:21 / #
Okay, so were you a librarian when you were reading and writing?
Jayne Ann Krentz 10:25 / #
Yes.
Sarah MacLean 10:26 / #
And so tell us where you were, and you were?
Jayne Ann Krentz 10:31 / #
Well, probably the lowest point of my library career was one year I spent as a school librarian. That's a calling, not a career (laughs), and I was not called. And then spent the rest of my library career at Duke University Library, and then later, a couple of corporate libraries out West here.
Sarah MacLean 10:54 / #
We interviewed Beverly Jenkins for the series, and she, too, was a corporate librarian. So I feel like there are all these little connections.
Jayne Ann Krentz 11:02 / #
Yeah. Well, that was the most boring work, actually, the corporate work. I mean it was a job and I needed a job, but for me it was much more interesting to work with readers, scholars, students, you know, people who were actually after information, not just the latest drawing for that particular gadget that they got to dismantle. But that's just me. I just happen to like the public work better.
Jennifer Prokop 11:32 / #
Jayne, we read your book, Gentle Pirate, and the heroine was a corporate librarian, I think, right? Was that around the time that you had that job? I mean, this would have been like the very early '80s.
Jayne Ann Krentz 11:45 / #
That was the first book I wrote that sold.
Jennifer Prokop 11:47 / #
Okay.
Jayne Ann Krentz 11:49 / #
There was another book that came out, actually a few months earlier, but it was actually sold after Gentle Pirate. Gentle Pirate was sold into the beginning of the Ecstasy line. That was the line that...
Jennifer Prokop 12:03 / #
Vivian Stephens.
Jayne Ann Krentz 12:04 / #
Vivian Stephens founded, Vivian Stephens was, you know, she really turned the whole American romance industry, book publishing industry on its head. She just totally changed everything. If it hadn't been for her. I don't know how it would have developed, but she was a game changer, and because of her, a lot of what we now take as familiar voices in the genre got their start. It started with Vivian Stephens.
Sarah MacLean 12:32 / #
Yeah, it was that first class with Vivian was you and Sandra Kitt, and Sandra Brown and...
Jayne Ann Krentz 12:38 / #
Some other names that have come and gone that were big at the time...Barbara Delinsky. Yeah, but I was thinking of Amy Lauren.
Jennifer Prokop 12:49 / #
We read that one, too.
Jayne Ann Krentz 12:51 / #
She was Book One, in that line, yeah.
Sarah MacLean 12:55 / #
So you were writing, so you sat down, you put pen to paper. Did you have people who were encouraging you? Was it a secret?
Jayne Ann Krentz 13:03 / #
(laughs) Of course it's a secret.
Sarah MacLean 13:04 / #
Of course it's secret! (laughs)
Jayne Ann Krentz 13:05 / #
You're not going to tell anybody you're trying to write a book until you've actually...
Sarah MacLean 13:11 / #
I don't know. I told everyone. (laughs)
Jayne Ann Krentz 13:17 / #
Back in my day it was not something you said anything, you just, the closest you would have gotten. and I tried a couple times and it was disastrous, was to attend a writers group, a local writers group, but I wasn't really welcome there, because I was really flat out trying to write genre fiction. And romance at the time, was of all the genres, the least of them in terms of respect, and everybody else was trying to write a memoir.
Sarah MacLean 13:44 / #
Still, that's still the case. Everyone in the writing group is writing a memoir. (laughs)
Jayne Ann Krentz 13:50 / #
And I didn't see that as very helpful. What changed that landscape, the business landscape, so that I stopped signing stupid contracts that tied up my name was, again, Vivian Stephens, because she was the one that got us all together for the first Romance Writers of America meeting. And that changed everything for all of us in terms of finally being able to learn about the business.
Jayne Ann Krentz 14:16 / #
Because I'll tell you, the publishers did not want you to know about how it worked. We couldn't read contracts. I mean, it's just this gobbledygook. They still are but now, at least, you've got an agent, usually to help you, or you can get a lawyer to help.
Sarah MacLean 14:29 / #
Right, well, this is important. So you didn't have an agent in these early days selling Harlequins?
Jayne Ann Krentz 14:37 / #
I did eventually but not at the very...
Sarah MacLean 14:38 / #
But most people didn't. They just sort of packed up their manuscript and shipped it off?
Jayne Ann Krentz 14:43 / #
I take it back. I had an agent for the first couple of books and she really ripped me off. So I like to forget that, it was not a good experience. And after that I went solo because I didn't trust agents for a while. So I didn't calm down about agents until RWA. The first meeting of RWA when the agent showed up and you could talk to one and, you know, that's how I met my current agent Steven Axelrod. So...
Sarah MacLean 15:09 / #
Who is an agent for many, many, many of the big names of the genre.
Jayne Ann Krentz 15:14 / #
He was at the time because he was one of the few agents who took the genre seriously and saw that it was going to go big once the US publishers got into the business.
Jayne Ann Krentz 15:27 / #
And so he, he just jumped in early. It was timing, good timing on his part.
Jennifer Prokop 15:32 / #
So going back to these first books you wrote, Gentle Pirate you wrote first? Or did you have things in the drawer that didn't sell? What was that sort of journey to actually getting a contract or actually selling those first books? Where did those stories come from?
Jayne Ann Krentz 15:50 / #
Well, the very first book I wanted to write was actually what we would call futuristic romance, and I wrote a futuristic romance. And tip number two, for any authors out there, it does not pay to be too far ahead of the curve.
Jennifer Prokop 16:07 / #
Yeah, not in genre.
Jayne Ann Krentz 16:09 / #
Yeah, you've got to hit the wave just right to make it work. But, um, but that didn't sell. And then what I was actually reading was contemporary romance, because that's all there was. The reason, to backtrack, the reason I actually wrote the first futuristic romance and had hopes of selling it was because I came across, I was on a student cheap ass tour of Europe, and somewhere on some sidewalk, one of those book kiosks, had some American novels and I was out of stuff to read. And the book that changed my life was on that kiosk, and it was Anne McCaffrey's Restoree.
Jayne Ann Krentz 16:11 / #
Which was, yes, futuristic romance. And I don't think it did her career any good either, because she never wrote another. She moved on to dragons.
Jennifer Prokop 17:05 / #
To great success, right? To great success.
Sarah MacLean 17:07 / #
I mean, who didn't love a dragon.
Jayne Ann Krentz 17:09 / #
But she wrote a really, what we would call today is, you know, straight up what I'm doing with Harmony, and the Jayne Castle name, very much. So that was the life changing thing about that. But after that realized that I couldn't really make a living on the futuristic books, but the thing I was actually reading was contemporary. And that's what I backed off and plunged into.
Sarah MacLean 17:32 / #
So, then walk us through...I have lots of questions. So you're there with Vivian Stephens, and you're the first book, Stephanie James has the first book in one of the lines, right? You have one of the number ones, correct? Or am I making that up?
Jayne Ann Krentz 17:48 / #
I can't remember.
Sarah MacLean 17:49 / #
I might be making that up, but I'm pretty sure you're number one somewhere. So you're writing categories, and you're how many, I mean, this is one of the things that I love about people who were writing categories. How many books? How many publishers are you working for? How many books are you writing a year? What's this look like?
Jayne Ann Krentz 18:07 / #
Well, keep in mind the books are a little shorter than what we think of as a full-length paperback novel. They were probably about 68,000 words. They weren't novellas by any means.
Jayne Ann Krentz 18:18 / #
They were not as long as a full length novel. So and the other thing factored into it, is that you couldn't make a living unless you did three or four year. I mean, if you're trying to make a living at it, you're gonna, and you couldn't build a brand.
Sarah MacLean 18:33 / #
Right. You have to feed the beast. That's what we've been talking about so much. And then at what point do you think to yourself, alright, well maybe, does single title, the bigger books come later?
Jayne Ann Krentz 18:47 / #
Well, there was no market for single title except historicals.
Jayne Ann Krentz 18:51 / #
And I had resisted writing those because I didn't read them, with the exception of Georgette Heyer, which I had read those long in my teenage years, and I didn't think they were modern romances.
Sarah MacLean 19:01 / #
Sure. Well, and they're not, right. They don't have sex in them. They're not quite the same as the modern romance.
Jayne Ann Krentz 19:07 / #
No, not at all. So then after I was a success in category, category, as the publishers were starting to do one-offs. They were starting to experiment with the single title, and they wouldn't let me do it because I was not quite ready.
Sarah MacLean 19:26 / #
Oh, those words, that you're not ready. You hear that all the time from people because there was this idea, would you explain to everybody kind of how the system worked?
Jayne Ann Krentz 19:35 / #
I think the editors didn't have a sense of what really worked in the books with the exception of people like Vivian Stephens. But most of the editors I worked with were not real fans of the genre. They didn't read the books, it was a job and they did it as much as possible by the numbers, because they didn't know, they didn't react to the books themselves. I think that limits your vision of, and then they read outside the genre, and it wasn't romance. So they had a vision of what books outside the genre was and it wasn't romance. So they were probably, in hindsight, were looking for something more along the lines of what we would call women's fiction. You know, big, big book, women's fiction.
Sarah MacLean 20:18 / #
To kind of break you out of romance? The idea was eventually you would be "good enough" and I'm using air quotes for everyone, to get out of romance.
Jayne Ann Krentz 20:27 / #
Yeah, but I didn't want to get out of it. I wanted to write romance.
Sarah MacLean 20:29 / #
Thank you for that.
Jennifer Prokop 20:32 / #
Yeah, thanks.
Jayne Ann Krentz 20:34 / #
And then what happened was, it was a publisher. It was Simon and Schuster, Irwyn Applebaum. He was a publisher at Simon and Schuster. What was the name? What was the imprint?
Sarah MacLean 20:50 / #
Are you talking about Pocket?
Jayne Ann Krentz 20:52 / #
Yeah, Pocket books. Yeah, yeah. He took the first risk of publishing romance writers in big book format and in hardcover, and they just went through the roof. And so he really, eventually, I was published by him, but back at the start I didn't have that good luck. But he's the one that I think, in hindsight, really opened up that market and basically proved to New York publishing that, yes, these women readers will pay full price for a novel.
Sarah MacLean 21:27 / #
So what is your first single title? At what point do you make that switch?
Jayne Ann Krentz 21:33 / #
Well, I guess the first single title will be the one, the science fiction that failed.
Sarah MacLean 21:36 / #
Right. So I'm going to hold it up. This, Sweet Starfire, this is what we're talking about. This is, I'm sure you know about this, The Romance Novel in English which is a catalogue from Rebecca Romney. She's put together a collection of first editions and important works from the genre. She's a rare books dealer, and we're obsessed, Jen and I are obsessed with this.
Jennifer Prokop 21:55 / #
Yes, we are.
Sarah MacLean 21:57 / #
So Sweet Starfire is, I mean, it's not the first time anybody's ever written science fiction in romance, but this is it, right? This, this feels like a moment.
Jayne Ann Krentz 22:08 / #
I think because it was it was a true romance, in the American style. It had everything that the contemporaries had, just a different backdrop.
Jayne Ann Krentz 22:20 / #
And what that brought to the plate was you could do different kinds of plots. You could open up the plots.
Sarah MacLean 22:27 / #
Well, the argument being that Sweet Starfire opens the door to paranormal, as we know it, right?
Jennifer Prokop 22:34 / #
Well done.
Sarah MacLean 22:35 / #
I mean, which is a thing, it's major! There, and, you know, maybe we would have gotten there probably to vampires and everything else, but we got there, I think more quickly, because of you. So it's my podcast, so I get to say it. (laughter)
Jayne Ann Krentz 22:51 / #
I've always divided what's, okay, what Sweet Starfire had and what all my science fiction has is a very psychic vibe.
Sarah MacLean 23:00 / #
Mm hmm.
Jayne Ann Krentz 23:01 / #
And I have always drawn a very bright line between the psychic and the supernatural. So when you say paranormal, I tend to think of the supernatural, I tend to shapeshifters and vampires and witches, which I love to read, but I can't write. They're not, they don't fit my core story. So I've always thought of it as a separate area, and then there's the psychic romance or whatever you want to call it.
Jennifer Prokop 23:27 / #
Which you're still, I mean, those are still the Fogg Lake trilogy, which the, is it the third one comes out in January?
Jayne Ann Krentz 23:36 / #
I just want to take a moment here to say to anybody in the audience, this proves I can finish a trilogy.
Jennifer Prokop 23:42 / #
Well done. But that, it is psychic. It's you know essentially, everybody, the conceit is a fog goes over this town from a mysterious governmental entity and a whole towns full of people develop sort of psychic powers. And then it's like the next generation and the fallout. So it's interesting to hear you draw that line all the way back to books you're writing in the '80s.
Jayne Ann Krentz 24:10 / #
Yeah, I've always felt that difference, but I don't know that readers see it. It's just as a writer, I'm aware of it. But I think the reason I've been attracted to the psychic vibe from the very beginning, is because for me, it enhances the relationship. It gives that extra level of knowing between two people, and connection and bond. And it gives me other plots to play with. It gives me a little outside the box plot sort of thing, I think. But I also think it has a, it works because it's just one step beyond intuition, and most people can get into intuition. Most people believe in intuition. So asking them to take the psychic thing is just that one step beyond, whereas they may not be able to do the vampire thing or the supernatural thing, that may be a step too far for a lot of readers. But I think a lot of readers are fine with the psychic vibe, because everybody thinks they've got one.
Jennifer Prokop 25:10 / #
Right. Fair.
Sarah MacLean 25:12 / #
Wait, I want to go back to it doesn't fit my core story. So you might be the first person who ever explained core story to me, at a lunch at RWA, which I'm sure you do not remember. But I want you to talk about what core story is for, I mean, for everyone, but also, let's talk about yours. Because you seem to know very clearly what your core story is.
Jayne Ann Krentz 25:39 / #
I think I'm pretty familiar with it, because I had to understand it at that earlier point, when I killed off my science fiction career and had to reinvent myself as Amanda Quick, and I had never written a historical. So what I did was, I looked at that science fiction book, the last science fiction book, which was Shield's Lady. And I stepped back and I said, you know, duh, if you take out the rocket ships, and the funny animals and the other planet stuff, what you're really looking at here is a marriage of convenience. And then I thought, well dang, I know where those fit. So, so it was understanding a marriage of convenience, built on mutual trust, is what led me down the road to historicals. And then I realized it's what I always do. And I think it's important for writers to have a sense of their core story. And if you know your core story, you can sum it up in two or three words max. That's how elemental it is, because it has nothing to do with backgrounds, it has nothing to do with plots, it has nothing to do with the eras that you're writing in, it's all about the emotions you're working with, and the conflicts that you're working with. My core story is always founded somewhere on trust. And that's, like, I can write forever about it, because that's pulled from the inside. It's just a deep, deep thing that I am always curious about, interested in, everybody gets violated at one point or another, has their trust violated, everybody's been through that experience. Everybody has taken the risk of trust. You have to do it daily, basically. So it's a risk we're all familiar with, um, and it can wreck a life or it can change a life. And to me, that's all I need. That's just plenty to work with. So I think once you find the conflicts and the emotions that you love to work with, you're going to be able to explore, that's your universe, is what it comes down to. That is your universe, and you're going to write in every corner of that universe, some corner, every corner, for the rest of your career. I think. (laughs) That's my theory and I'm sticking to it.
Sarah MacLean 28:00 / #
I think it's a great theory. And it also makes so much sense that you weren't interested in leaving romance, because trust and love go hand in hand so well, that it makes sense. So when you, I want to get to Amanda Quick, the choice to do the Amanda Quick switch. So you say you've killed off your science fiction career. You're not writing contemporary single titles at this point. Is that because they don't exist generally, or you're just not?
Jayne Ann Krentz 28:31 / #
You know I don't think so. I think they were all historical.
Sarah MacLean 28:33 / #
Still at this point.
Jayne Ann Krentz 28:35 / #
Yeah.
Sarah MacLean 28:35 / #
Okay, and so you decide, because this is the late '80s?
Jayne Ann Krentz 28:40 / #
Yeah.
Jennifer Prokop 28:40 / #
Yeah, it feels like the only person I could think of who might have been writing an occasional single title...who wrote Perfect?
Sarah MacLean 28:45 / #
Contemporary.
Jennifer Prokop 28:50 / #
Yeah, contemporary. It was Perfect and...
Sarah MacLean 28:52 / #
McNaught.
Jennifer Prokop 28:50 / #
Yeah, Mcnaught had a couple. And there were a couple...
Sarah MacLean 28:58 / #
But that's a different angle into it, right, because McNaught was writing those big epic historicals and then, so the idea of her being asked to cut 100,000 words out of her books to write category is, I mean, she just wouldn't.
Jennifer Prokop 29:12 / #
Sure. Not going to happen.
Sarah MacLean 29:13 / #
I think Judith McNaught's amazing, but I doubt she'd be very quick to be like, "Yeah, I can write it in a third of the words." So you, at what point do you know you've killed your career?
Jayne Ann Krentz 29:27 / #
The same way you always know it. I couldn't get another contract with that publisher.
Jayne Ann Krentz 29:31 / #
When they stop giving you contracts, that's a pretty big sign.
Sarah MacLean 29:34 / #
Pretty good sign.
Jayne Ann Krentz 29:37 / #
And that's when an agent really earns their keep, in a sense, because it was my agent who sold me as, I had to come up with a proposal he could work with, and it was the Amanda Quick proposal, for my first Amanda Quick book. And he just did a dang good job selling it to Bantam Books at the time, and he sold them without telling who it was.
Sarah MacLean 30:02 / #
That is a story you hear all the time.
Jennifer Prokop 30:05 / #
Yeah.
Jayne Ann Krentz 30:07 / #
And then once they committed to the book, then he could say, "Well, that's Jayne. Yeah, that's Jayne." So, but that's, that's, you know, he did a miraculous job of resurrecting my career at that point.
Sarah MacLean 30:20 / #
Not just resurrecting your career, I mean, suddenly, Amanda Quick, you know, is everywhere. Amanda Quick is one of, Jen and I both...
Jennifer Prokop 30:29 / #
Oh, yeah.
Sarah MacLean 30:30 / #
This is one of the names that we came to romance with.
Jayne Ann Krentz 30:34 / #
I think, I think what I just realized too late, probably should have realized earlier, was that the Regency, which is where I started, it is the perfect background for my voice, and it works just like the '30s is working now for that voice. It's a very similar kind of voice or of conversation and dialogue, just suits my style. Both eras suit my style.
Jennifer Prokop 30:59 / #
So as a writer, you're choosing to do something that's really out of your comfort zone, it sounds like. So how was that experience for you? Was it generative? Did you find yourself really? Or was it always like a I would love to get back to my roots? How did that, how did it go for you?
Jayne Ann Krentz 31:19 / #
Well I hadn't been there, so there was no roots to go back to, except the realization that the story I was telling fit that Regency in the way that the old Georgette Heyer had, that I kind of, that's what I clung to. What I worried most about because I was, am, are a librarian, was the research. And that was, to tell you the truth, is the reason I hadn't gone into the historicals in the first place. I had majored in history. I knew how complicated it was, but the lesson I learned very fast, was that when you write, when you write genre, you are writing not the real history, but you're writing the myth. And the myth of the Regency was already there because Georgette Heyer had created it so I just wrote on that.
Sarah MacLean 32:12 / #
So one of the things, when we read Ravished on Fated Mates, we did a deep dive episode on the book, and you know, we love it. And one of the things that we talked about was how, you didn't invent the bluestocking, obviously, Heyer was there before you but there is a difference. Amanda Quick comes on the scene, and suddenly it's like a door opens on historicals. And I'm wondering if you, does that, I mean, first of all, do you think that that's a good read on what was going on? Because it feels like prior to that, you know, you had all of the big, you know, the four J's and you had kind of other historicals that were doing a kind of different thing. And then in comes the Amanda Quick historical with the smart, you know, savvy heroine, the bluestocking, the hero who is her true partner from the start. I mean, going back to your core story now that you've said that, of course, right.
Jennifer Prokop 33:15 / #
Of course. Exactly. That's how I felt too.
Sarah MacLean 33:16 / #
But at the same, and so I, you know, I reread all of your pieces in Dangerous Men and Adventurous Women in preparation for this conversation, and we'll get there. But one of the things that you talk about is this idea of the hero as both hero and villain. He plays both roles. And I think that is really true prior to you in historicals, but he doesn't become the hero until much later in those earlier historicals, versus, you know, when you think about the hero of Ravished, he's a decent dude from the jump. And I think that is really, it feels like a Jayne Ann Krentz or an Amanda Quick Regency suddenly was doing a little bit of a different thing. Was that intentional? Or was it you were just doing the different thing?
Jayne Ann Krentz 33:19 / #
It was just intuitive.
Jayne Ann Krentz 33:26 / #
Because that's, that's the kind of character I'd always written. If you read my books from the beginning, my heroes haven't changed much over the years. You know, pretty much my heroes, they do what they do, and that they're infused with my core values in what I think works in the hero and same with the heroines. And I think if you respond to my books or any author's books, it's because, you're not responding so much to the story, the plot, the characters, you're responding to the core values infused into the primary characters. And if and if you respond to those values, you're probably going to go back to those books, that author again and again. If you don't respond to him, it's a boring book, and I think that's how it works. So if you read my books, it's probably because you got my sense of humor. And you have the same, you share a lot of the same core values. The thing about genre, the reason it even exists at all, is because it's the device and the mechanism by which we send our values down to the next generation. It's the way we affirm them to ourselves throughout our life. And it's the way a culture keeps its culture intact. It's the myth of the core value of that civilization, whatever it may be, that is going to go down through history, and it survives or it doesn't survive. And that's, that's what genre does, it carries the myth.
Jennifer Prokop 35:40 / #
I love that.
Jayne Ann Krentz 35:42 / #
That's my theory.
Jennifer Prokop 35:46 / #
That I think is really true. And when I think about myself as a romance reader for 40 years, or however long it's been. It's not that quite that long. I feel like I really do see that, like those arcs. But at the same time, I feel like there's so many ways I can talk about how romance has changed. So for you, what are the things, like they're still the big things that are the same? What are the things that have changed in romance, do you think?
Jayne Ann Krentz 36:15 / #
Those dang cell phones. (laughter) You laugh, but I'm telling you. I know, I know what you mean. And one of the tricks to success in this business is trying not to tie your story down to a particular era, unless you're really telling that era's story. I mean, if, you know, when you do the 1930s, you do the 1930s. But, but if you want the books to have a long life, it's best not to put in any gadgets or...
Sarah MacLean 36:48 / #
Celebrity names.
Jayne Ann Krentz 36:50 / #
Celebrity names, politician's names, history, local ongoing history. Keep it, the more you limit it to the myth and the mythical side of the story, the longer that story is going to survive. But that's, that's a whole other issue here. Clearly, the surface changes all the time. And that's just true of any genre. But the underlying power of the genre that you love to read, whatever that genre is, doesn't change very much. And so I'm still writing relationships that have to overcome the hurdle of trust, and it's not going to change. You know, that has nothing to do with politics or history or social problems. I think the more you deal in social problems, the more you move away from genre, in a sense, because you're dealing with the superficial again, you're back to what's current now, but 20 years from now, that won't be an issue. Some things will be issues, because they're they're universal things. I'm thinking now about women's voting, getting the right to vote. It's an interesting historical detail, and it's an important historical detail. And you can tell stories around it, because the Suffragette movement was so important, but it is, it's a different take. It's, I think what happens when you do that is like, it's like, okay, it's clear to see it set in, in a war. Any book you write set in World War Two, no matter what you do, the war is going to be the primary character. Nothing. In the end, there will be sacrifices, and everything will be sacrificed to doing the right thing in the war. Because that's the other thing that genre does, which is call upon its characters at one point or another, to do the right thing. And we have a sense of, a sense of what a real hero does when the chips are down. We have a sense of what a heroine is supposed to do when push comes to shove, and they do the right thing. That's how, that's, that's all that matters. And that works big time if you're setting the story against an overwhelming backdrop like a world war. It's Casablanca. You never see, you never see any fighting or shooting. It was one gun but you know what I mean.
Sarah MacLean 39:21 / #
War is everything.
Jayne Ann Krentz 39:23 / #
Right. Everybody sacrifices for the war effort. And it's just, I'll never write that story because it's not mine. That does not fit. It doesn't come back to the trust between two people that I want to write about. I can admire it, you know, it's not that, but it's not my story.
Sarah MacLean 39:40 / #
As you're writing, in your career, you know, you've spanned, you know, you started with categories, you've written single titles, you've written sci-fi, you've written historicals, you've written, you write contemporaries now, still. At what point in this journey are you thinking, "Oh my gosh, romance is a big deal. I mean, it's really, there are millions and millions of women out there who are reading these books, largely women."
Jayne Ann Krentz 40:09 / #
Guess when the big checks started coming. (laughter) You know, once the American publishers got into the market, it became a big business really fast, because that's just how the American market works. If it works, it explodes. You know what I mean?
Sarah MacLean 40:22 / #
Everyone's throwing books out all the time.
Jayne Ann Krentz 40:25 / #
You can clutter up the market in a hurry, you know, but that's kind of a normal process. And yeah, I just think that the process of becoming a big business happened really quickly, and simultaneously, or concomitantly, or whatever, right along with it, came the foundation of Romance Writers of America, which gave the romance writer access to information about the business. So we grew up with it, in a sense, that first generation of romance, American romance writers grew up learning fast.
Sarah MacLean 41:03 / #
Because at the time Romance Writers of America was about the business, right? It was about professional writers coming together to share, to information share.
Jayne Ann Krentz 41:12 / #
It was networking.
Jayne Ann Krentz 41:14 / #
We didn't, we didn't have that word for it, but that's what it was. And a lot of the friends I have today, I made back in those early days of networking.
Sarah MacLean 41:21 / #
So talk about that. What was this community like? Who were they? What were you getting from them? How are you interacting?
Jayne Ann Krentz 41:30 / #
Back at the beginning, only published writers were in the group. It later opened up to unpublished writers, but back at the time, we all had the same interests because we were all published, we're all dealing with publishers, we're all dealing with contracts, we're all trying to find agents, you know, that there was a lot of business to discuss, and the other organization, Novelists, Inc., also came along about that time. And gradually, I think people realized that romance writers had a lot of, all the same concerns and interests as the writers in the other genres. So there was some cross networking there too. It wasn't always comfortable, but you knew that there were other writers groups out there that had the same issues and and you could learn from them. So I just think it was the networking thing that today happens online. So it isn't maybe so necessary to have the organizations that, that we just didn't have that online option. I didn't know any other published writers until I went to that first meeting of the RWA, the very first RWA.
Sarah MacLean 42:38 / #
Yeah. Who is the group of people who keep you going?
Jayne Ann Krentz 42:43 / #
Well, Susan Elizabeth Phillips. Kristen Hannah. A lot of it is, are friends I know here, like Debbie Macomber, because we have a lot of us happen to end up in the Pacific Northwest. Christina Dodd. More newer friends who've come along right now, for example, Rachel Grant, who is doing a really interesting, modern, very modern version of the heroine who is an archaeologist, and it's kind of the new Amelia Peabody, but except very modern. And Darcy Burke.
Sarah MacLean 43:18 / #
Were there editors who you feel were essential to the growth, your growth as a writer?
Jayne Ann Krentz 43:26 / #
Yes, and to the genre, because I said back at the beginning, a lot of the editors were not people who actually loved the genre. For a lot of editors, it was a starting point in their careers, which they hoped to move on to other kinds of books, I suppose. But years ago, it's been a few decades now, I can't remember when, editors started coming into the genre, who like Vivian Stephens just loved the books, just have a gut way to buy the books, they can buy them by intuition, because they read the books, they knew how they worked. So editors like Leslie Gelbman, and my editor today, Cindy Hwang, who pretty much invented the whole paranormal publishing industry.
Sarah MacLean 44:14 / #
We should say Leslie Gelbman also edits Nora Roberts. So you've you've probably read something by Leslie Gelbman's authors before.
Jayne Ann Krentz 44:23 / #
And those editors, and they have in turn mentored a group of younger editors coming up, and they choose their people now. They choose their editorial staff knowing that they need writers, they need authors, they need these editors to bring in authors who will work long term, and that takes an editorial eye that loves the basic story.
Sarah MacLean 44:50 / #
Right. So there's this, it feels like there's this editorial mindset of building a career, of buying an author and shepherding. them through the journey.
Jayne Ann Krentz 45:01 / #
Yeah. Yeah. It won't probably last a lifetime, but their careers and the writer's careers in that kind of publishing are very intertwined. There is no getting around it. On the other side of the coin is the self-publishing, the indie published authors, who don't have that kind of connection, and it's a very different publishing world for them. It's an interesting, it's an interesting thing that's happened in the industry, because I think between the two, the writers finding editors who love the books, and the independent writers who don't need gatekeepers, which basically New York editing is a gatekeeping job. And agents are gatekeepers too. But the indie crowd doesn't have to worry about gatekeepers. So between those two groups, they kind of have revolutionized the whole romance genre, in that they have allowed an almost unlimited variety of experiments. And that has kept the genre, keeps it fresh, it keeps reinventing itself because it keeps going new places. Some of the other genres can't say that. They're much more hidebound, much more rigid, in what's acceptable. If you put a vampire cop into a traditional murder mystery, it's not gonna sell. They don't want vampires in there. They know what they want in their murder mysteries and it ain't vampires, but a romance reader will look at it. She may not like that book, but she'll give that story a chance. So the readers were inclined to be experimental too. They'll try something new. And that's, that's just been an amazing thing for the whole genre, because it keeps churning, it keeps changing. It keeps adding and experimenting, and one of the reasons we were able to do that, even in the early days, was because nobody cared enough about romance to make any rules.
Jayne Ann Krentz 47:08 / #
We skated under the radar, and it was very useful for those of us who didn't know there were rules. It's like, "Oh, okay." (laughs)
Sarah MacLean 47:16 / #
So let's talk about this, Dangerous Men and Adventurous Women, because I would like to hear the story of how this came to be in 1992.
Jayne Ann Krentz 47:30 / #
I think at that point in my career, I was very successful. I knew a lot of other successful writers. And as the saying goes, we didn't get any respect. And it wasn't that I wanted people to love my books. I understood, I don't read a lot of other people's books too, you know. I have no problem that you don't want to read the books, but the criticism was not proper criticism. It was not literary criticism. It was blowing off not just the the writers, but the readers, and the implication was, they're not well educated. They don't have a lot of money. They're, it just wrote everybody off from from the consumer through the writer.
Sarah MacLean 48:10 / #
And are you talking about specifically academics at this point? Or because there's a very famous late '80s study that came out about romance readers that presents them in this way?
Jennifer Prokop 48:22 / #
Is this Radway?
Sarah MacLean 48:24 / #
The Radway.
Jayne Ann Krentz 48:25 / #
No, I read the book and it's, okay, one of the things I learned about going into academic publishing, which I did one time and we will never do it again (laughter), is that you are expected to take a, what would be the right word, of philosophical slant, and then bring in the proof that shows that your take on it is correct. I've always felt that didn't really, wasn't very helpful, because you can make anything look right, if you bring in the evidence that you want to bring. (laughter)
Jayne Ann Krentz 49:01 / #
Yeah, so I didn't, I didn't, and that was what passed for serious academic criticism. That was nothing compared to the jokes in the newspapers on Valentine's Day.
Sarah MacLean 49:11 / #
Sure. I mean, which still persist.
Jennifer Prokop 49:13 / #
Yeah.
Jayne Ann Krentz 49:14 / #
No, it ranged across the whole scale. So at that point, I was still in my feisty mode, I guess. (laughter)
Sarah MacLean 49:22 / #
I love it.
Jennifer Prokop 49:23 / #
We're still in our feisty mode, so pass the baton right over. (laughter)
Jayne Ann Krentz 49:28 / #
Just go. Run with it. Run with it. But I had been in the business long enough to know that there was one editor out there who straddled both the academic and the genre, and that was Patricia Reynolds Smith. I had met her while she was working for Harlequin. And then eventually she moved into academic, she went back to her roots, which was academic publishing, and was with the University of Pennsylvania Press. So I called her up, and I told her what I had in mind, and I said, "Where would I take a book like this?" And she said, "Right here."
Sarah MacLean 49:29 / #
Terrific.
Jayne Ann Krentz 49:29 / #
So she really is the one I give full credit to for that book, because she knew how to organize it so that it looked academic, so that it was acceptable to an academic reader, and that it met their standards, as well as told our side of the story.
Sarah MacLean 50:25 / #
And it's interesting, because at the beginning of this book, the first line of this book is, "Few people realize how much courage it takes for a woman to open a romance novel on an airplane." And it felt, I mean, I read that again, you know, this week, and it just felt like a shot to the heart because it, I mean, we've all been there, right?
Jennifer Prokop 50:44 / #
And people still feel this way, right? And this 30 years later.
Jayne Ann Krentz 50:49 / #
Why do you think romance readers were early adopters of ebooks? (laughter)
Jennifer Prokop 50:53 / #
Exactly. None of your business, right? None of your business.
Jayne Ann Krentz 50:57 / #
Yup.
Sarah MacLean 50:57 / #
But the idea, this kind of transformational idea of turning the text around and saying you're missing the point. This is for the reader. This is about these women, these, largely, women who are experiencing these books, the mythology of these books, the power of these books themselves, privately, had to have been kind of earth shattering for academics, because that's not what they were talking about in those other books, which I also have read.
Jayne Ann Krentz 51:27 / #
Interestingly enough, we have several warmly received reviews from female academics. The harshest critics for that book that I recall, were male.
Jayne Ann Krentz 51:41 / #
And they just didn't get it. It just, even with all our careful explaining, (laughter) apparently we didn't explain it to a lot of men very well, but most of the women I talked to afterward got it.
Sarah MacLean 51:57 / #
Yeah. So you get to, you send out an email, or well, you don't send out an email. (laughter) Wait, how do you get all these people?
Jennifer Prokop 52:08 / #
Exactly!
Sarah MacLean 52:08 / #
Oh my god, what is happening? (laughing)
Jennifer Prokop 52:10 / #
You don't text your friends?
Jayne Ann Krentz 52:13 / #
This, this is that thing called the telephone.
Jayne Ann Krentz 52:16 / #
You dial it.
Jennifer Prokop 52:19 / #
I remember now.
Sarah MacLean 52:20 / #
So you start picking up the phone and calling you know, the biggest names in the genre. Elizabeth Lowell is in here, Mary Jo Putney. Susan Elizabeth Phillips.
Jennifer Prokop 52:28 / #
Sandra Brown.
Sarah MacLean 52:29 / #
Sandra Brown. Stella Cameron. And you say what?
Jayne Ann Krentz 52:34 / #
I tried to explain what I was trying to do. But I've never been the best proposal writer. In terms of explaining, I can write a proposal, but pitching it verbally has always been hard for me. But I, after talking to Pat Smith, the editor, I had a sense of how how to phrase what I was asking for, which is I'm not going to give you a topic. I just want you to tell me what you think makes the books work. What is the appeal of the romance? And 19 authors came back with 19 different essays, that all went together very nicely. It just, they just worked across the spectrum. And that book is still in the libraries today, academic libraries today. And then that was what sort of Pat Smith told me going in, she said, after I was exhausted, because this took a year out of my life.
Jayne Ann Krentz 53:27 / #
You try herding 19 authors! (laughs)
Jennifer Prokop 53:29 / #
Yeah, right. Before email.
Sarah MacLean 53:32 / #
Before email. (laughter)
Jayne Ann Krentz 53:35 / #
And then having to be the one to pass along the edits .
Sarah MacLean 53:39 / #
The notes! How dare you! (laughs)
Jayne Ann Krentz 53:45 / #
Without losing any friendships in the process? You know, it was, but everybody came through and everybody was very gracious about it. So it was an interesting experience all the way around. But she said, "The one thing about this book is that it'll still be around 20 years from now."
Sarah MacLean 54:03 / #
And it is. I mean, it was, I mean, it's been on my shelf since the very beginning of my career. So...
Jayne Ann Krentz 54:09 / #
Thank you.
Sarah MacLean 54:10 / #
I'm really grateful for it. So we talked a lot about what your core story is and what makes a Jayne Ann Krentz novel. I wonder if we could talk about your readers? Do you, I mean, one of the things that really struck me in Dangerous Men and Adventurous Women in your introduction, as I said, was centering the reader. And you're, you have this conversation in the introduction where you talk about reader service. And I wonder, we all know, of course, as readers and writers of the genre that readers are really drawn to romance and it's a very different kind of relationship that writers have with romance readers. Do you have any moments that stick out from across your career of times when you've heard from readers or really understood the power of the genre with them?
Jayne Ann Krentz 55:02 / #
I think the thing that surprises me the most, and other writers I know have the same reaction, is how often a reader will take the time to let you know that your book got them through a tough time. And I think it speaks to the underlying communication of the emotional core of those stories. When you are sitting by a bedside of somebody who isn't doing well, you want you want to read something that is speaking to your heart, and speaking to your emotional core, and affirming your own deep core values. And romance does that for women. It does it for men too, I think, but we haven't really gone there, you know, acknowledge this. I am, I'm always surprised at how many male readers romance writers pick up along the way. That they do respond to the books, and often it's the wife buying the book. And then he reads it at home kind of thing. It's an interesting play. I remember asking one male reader who came through an autograph line, he was really, really into the books that he was buying, and he was very excited. And I asked him what it was he, what spoke to him in the stories and he said, and his son was with him, and he said, "My father just came back from the war." This was, he was a Vietnam vet. And the vet said, "I just don't want any more blood." And so he got a story with a little mystery in it, a little suspense in it, a lot of action, but no really grisly, horrifying things. So there may be more of that kind of reader out there than we realize, because so much of modern romance incorporates an element of suspense, which is also that romantic suspense is a, I think, also a really core American story.
Jennifer Prokop 57:08 / #
Yeah.
Sarah MacLean 57:09 / #
That's fascinating.
Jayne Ann Krentz 57:09 / #
It's just very popular.
Sarah MacLean 57:12 / #
Jen has a whole - Jen, I know you want to talk about Vietnam, and you should ask your question.
Jennifer Prokop 57:19 / #
So my dad fought in Vietnam. And you know, I read, looking back, I am fascinated by how, so I started reading romance when I was probably 12 or 13. And this would have been like the mid '80s. And so many of these heroes were men back from Vietnam. And I am just personally really - and Sarah's whole college thesis was about Vietnam.
Sarah MacLean 57:48 / #
Women on the homefront during Vietnam
Jennifer Prokop 57:50 / #
Right?
Sarah MacLean 57:51 / #
Probably because of romance novels, I mean, of course, because of romance novels,
Jennifer Prokop 57:55 / #
Sure, of course, right? And I think for both of us, I mean for me, it was just really personal. I still don't really understand my father. And when I read books about war by men, I'm reading about combat, but when I read romance about men coming home from war, I'm reading about my family. And I think that, I've always joked, I'm getting a little weepy. It's hard to talk about, because I feel like my dad's really broken and he still is, and no one, love didn't fix him, right? And I know that that's why I get so angry sometimes when people are like, "Women reading romance." I'm like, "Look, I wanted to live out a world where it was possible for my dad to be fixed by love." And romance gives me that. And I think that I'm just really fascinated by the way that those Vietnam heroes, to me, turned into romantic suspense in a lot of ways, right? Like we, we put it back on page. So I don't know if there's a question there. I think it's your heroes meant a lot to me, because I felt like here's somebody who's talking about how hard it was to live with these men who had come back from war, and didn't know how to be parts of families anymore.
Jayne Ann Krentz 59:12 / #
Now, and that is a common story after every war. It's not just Vietnam. It's every damn war that sent them home. And what happens is, these broken men came home, and the women are left to patch them up as best they can. Sometimes you just can't.
Jennifer Prokop 59:27 / #
Yeah.
Jayne Ann Krentz 59:28 / #
You know, the damage is too great. And I think the books acknowledge that. They give a happy ending because that's what we're in the business of providing, is a bit of hope at the end. But even with the happy ending, if you say that's unrealistic, and I don't know that it is for everyone. I mean, that in your case, obviously, it was, for the real life. But what those books gave you was the fact that you were not the only person dealing with this. Women across the country were dealing with this, and not always successfully, and they acknowledge that pain, they acknowledge the problem, they acknowledge the damage. Yes, they've tried to fix it with love, but in a way, that's not why you're...
Jennifer Prokop 1:00:13 / #
That wasn't it, right. It was just that it was there.
Jayne Ann Krentz 1:00:16 / #
Other people acknowledged it.
Jennifer Prokop 1:00:18 / #
I often say that, if you want to read about miscarriage, you should read romance. Because it's another place where it's like, these things happen to people and we go on. And I feel like that's one of the things, to me as a reader, it's the, and I just don't think romance gets enough credit for really...
Jayne Ann Krentz 1:00:38 / #
It doesn't.
Jennifer Prokop 1:00:39 / #
Really saying, "Look at what we go through and yet we still persevere or trust each other or find a way." That's why I read romance. Every every single romance gives me that.
Jayne Ann Krentz 1:00:52 / #
Because it is affirming a positive core value. It is affirming hope, which ultimately is all we've really got. (laughs) But on the respect side, I will tell you one story that has stuck with me for decades now. And that was years ago, I was at a conference, one of those book fairs. Remember the big book fairs? Seattle used to have a big book fair. And I was...
Sarah MacLean 1:01:22 / #
Remember when we all went places and stood with other people? (laughter)
Jayne Ann Krentz 1:01:27 / #
Those were the days. But I was standing with a crowd of local writers of all genres, because we just have a lot of local writers here. And there was a very well-known science fiction writer, a very well-known mystery writer, a very well-known memoir writer. I mean, there was just a bunch of us standing around. And somebody started whining about how they didn't get any respect. And I being the only romance writer, and I figured I had the biggest...
Sarah MacLean 1:01:57 / #
Oh boy. Was it a man?
Jennifer Prokop 1:01:59 / #
Bite me.
Jayne Ann Krentz 1:02:02 / #
I kept my mouth shut, because every single one of those genre writers had the same experience.
Sarah MacLean 1:02:08 / #
Yeah.
Jayne Ann Krentz 1:02:09 / #
They might, in turn, have been able to look down on me, but by golly, they felt looked down upon. (laughs) That sense, and that was another insight into the fact that by and large, our country, our culture does not give a lot of respect to genre fiction in general, not just romance. We might get the sharp end of the stick or whatever, but there isn't really a lot of respect for the genres compared to the literary novel. And that, I think, is a huge misunderstanding of the purpose of genres, which, as I said earlier, isn't so much to capture a moment in history, it's to capture values and core cultural beliefs, and affirm them and transmit them. And that's really crucial to a culture. That's more important to a culture, than a piece of snippet of time of that culture, which will never be, will never happen again. So you can write New York City problems or LA problems today or tomorrow, and that's a piece of history that you're doing, but it's the underlying core values that will decide whether or not it's the genre or literary. I think it just has a really important place in our culture. Every culture has a version of genre stories, and that's how humans tell stories, and why they tell them, I think. Because it's really kind of interesting, when you think about why do we tell stories, you know?(laughs) And we, even if you don't read, you're gonna be exposed to stories, you'll be inundated with stories on TV. I mean, it's just roll through.
Sarah MacLean 1:03:48 / #
Well, we talk all the time about, you know, how romance really scratches a kind of primordial itch. It feels, it hits you emotionally first, and then the story waves over you, crashes over you. And I think that's the power of all genre, is this idea that the stories have to be compelling, they have to keep you interested, and you know, keep you turning the pages, in a way that, and I don't, I'm with you. I don't understand why that's somehow less valuable. It feels more valuable in a lot of ways.
Jayne Ann Krentz 1:04:24 / #
RIght. I think it's because there's so much of it. Humans, just in general, tend to blow off anything that's got tons of it around. And there we are inundated with stories from film, from TV, from audiobooks, from books. It's just everywhere, so we tend not to give it a lot of respect.
Jennifer Prokop 1:04:43 / #
So back to your books. Are there books of yours that you're the most proud of or that you hear the most from readers about?
Sarah MacLean 1:04:52 / #
Maybe those are two different books.
Jennifer Prokop 1:04:54 / #
Yeah, could be.
Jayne Ann Krentz 1:04:55 / #
I've always heard a lot about Ravished. And that's because it is the most fundamental version of my core story.
Jennifer Prokop 1:05:02 / #
Yeah.
Jayne Ann Krentz 1:05:03 / #
And that's it's beauty and the beast thrown in with the trust thing.
Sarah MacLean 1:05:08 / #
For me, it's because Harriet says, "Well, it's not like I'm doing anything with my virginity." (laughter)
Jennifer Prokop 1:05:15 / #
A classic line forever.
Sarah MacLean 1:05:16 / #
It's the greatest moment in romance history when Harriet says that! (laughter)
Jayne Ann Krentz 1:05:21 / #
What is this doing, yeah? So I hear a lot about that one. But to tell you the truth, I, the book I love best is always the one I just finished. And I suppose that's because it's the one that I just most recently wrote my heart into, you know. And people tend to quote lines back at me. I'll hear lines from books and forget I wrote the line. I think the only line I really remember writing, and it's only because I heard it quoted so many times after the book came out, which was, "Good news. She doesn't need therapy." (laughter) That was from Perfect Partners, and I've heard that line my whole life. (laughs)
Sarah MacLean 1:06:05 / #
Proof Jayne Ann Krentz is not from New York City. (laughter) So that's great. Do you feel like there is a book that you, is there a book of yours that you wish would outlive you? If you could choose one?
Jayne Ann Krentz 1:06:25 / #
It isn't, I don't think of my own books as being that kind of book that would speak to future generations. I don't, it'd be nice if it did, but I don't have a strong sense, it's not part of what I'm trying to write for. But what I hope outlives and lives on is the genre itself. Because I think the romance genre is probably the core genre from which everything else derives. You can't write any of the other genres without that core story of relationships. At least they won't be very interesting stories if you don't. [include romance] So I hope we never, I hope as a culture, we never lose the romance genre, simply because I think it is, it's a critical voice and a critical kind of story that we need, because it's all about the foundation of a union, a family and a community. And that core value is what holds civilization together. So there we go. We need romance to keep civilization going.
Sarah MacLean 1:07:38 / #
Amen.
Jennifer Prokop 1:07:39 / #
So much pressure.
Sarah MacLean 1:07:42 / #
I think that's a perfect place to end. Jen, do you have anything else?
Jennifer Prokop 1:07:45 / #
No, this was unbelievable. I'm going to go lay in my bed and think for a long time.
Sarah MacLean 1:07:53 / #
It really, it's transformational this conversation. It makes you think. I mean, when she said, "genre carries the myth." Stop it. I just, I immediately wrote it down on a post-it note.
Jennifer Prokop 1:08:05 / #
Yes. Well, I mean, so I said at the beginning that we recorded this months ago, right? We're actually recording the topper the week before it airs and this part. And I have been thinking about that part of the conversation for so long. Not only because I think it's so smart about what genre does and why it works the way it does. You know, specifically the thing that she said too about in genre characters are called upon to do the right thing.
Sarah MacLean 1:08:33 / #
Aww, right! It just makes sense!
Jennifer Prokop 1:08:35 / #
It's just to make sense, right? Like this myth making aspect of it. But next week we are going to be talking about a historical romance called Passion. And one of the things that we ended up talking about and I think we've talked about over and over again, is why it is that so many readers will come after historical authors and say, "That's not true." I think a lot of people look at it about like historical accuracy. But it's, when you think about it instead as being no, they're fighting. They don't like the myth changing on them.
Sarah MacLean 1:09:06 / #
They don't like characters doing the right thing in a way that, you know, they aren't used to.
Jayne Ann Krentz 1:09:11 / #
Or they don't like valorizing characters that they've never thought of as being...
Sarah MacLean 1:09:16 / #
Worthy of valor. Yeah.
Jennifer Prokop 1:09:18 / #
Yes. And so I was thinking about it so much as I was re-listening because I was like, this, to me really helps understand these are not people that are going to be swayed by, "Oh, but the word cunt has been around for, you know, hundreds of years!" Because that's not, it's not about historical accuracy. It's about, "I don't like that I'm not the primary character in this myth anymore.
Sarah MacLean 1:09:42 / #
Right. The hero of it.
Jennifer Prokop 1:09:44 / #
And I think that that then if you think about these changing mores as being these conversations are a proxy for not just how romance is changing, but how society is changing and who we make a place for, and who gets to be the star of the show? Then those conversations just take on a new kind of relevance and importance. One that I think I would approach in a different way, in the future, after thinking about what what Jayne said.
Sarah MacLean 1:10:13 / #
Yeah. I think that there is such power, I mean, clearly we talked about this in the episode with her, but there's such a sense with Jayne that she carried the banner of romance for a while. And she carried that banner because of this, because of her bedrock belief that romance and genre fiction are the successors of the core stories of us as humans.
Jennifer Prokop 1:10:43 / #
And the core stories of us as a society. right?
Sarah MacLean 1:10:46 / #
Yeah.
Jennifer Prokop 1:10:47 / #
I mean, lay me down. Even just saying it I got covered goosebumps, like, "Oh, that's what it is! Of course!
Sarah MacLean 1:10:53 / #
Yeah. I mean, and that's without even talking about core story, which she is so brilliant about. I mean, she was the first person who ever said, "core story" to me, I think. And talk about somebody who just understands her work.
Jennifer Prokop 1:10:53 / #
Yeah.
Sarah MacLean 1:11:04 / #
And never deviates from her path. And even with all, I had no idea that so many of these pen names came because she was quote, "failing," right?
Jennifer Prokop 1:11:25 / #
Yes.
Sarah MacLean 1:11:26 / #
That she had to restart her career so many times. The idea that Jayne Ann Krentz/Amanda Quick/Jayne Castle/Stephanie James had to restart, had to reboot is bananas to me, because I do think of her as being the best of us in so many ways. You know, especially coming off the re-read of Ravished that we did.
Jennifer Prokop 1:11:50 / #
We have talked a lot about the Trailblazers in terms of, offline, what are the things that keep coming up over and over again? Vivian Stephens, the role of those, Woodiwiss, right? The things that really were markers for so many of these writers, but the thing that I keep thinking about is, but what about our listeners or the, you know, new, young, up and coming authors to hear that Jayne Ann Krentz was like, "Yeah, I was a failure." I mean I was like...
Sarah MacLean 1:12:19 / #
"My agent told me I should try historicals, and we didn't even tell them I was the author." That is, aside from just being almost unfathomable, the other side of it is so inspirational!
Jennifer Prokop 1:12:37 / #
Yes.
Sarah MacLean 1:12:38 / #
You know, not to be cheesy about it, but the idea that she, that this kind of rockstar, a true Trailblazer, struggled over and over again and had to reinvent herself over and over again, it's really amazing. Especially because, on the the New Year's Eve episode, I said my sister was looking for an old Stephanie James. Which by the way, we think we found. We'll put in show notes. But there's this idea that failure to the industry also, is, looks very different to readers.
Jennifer Prokop 1:13:19 / #
Yeah.
Sarah MacLean 1:13:20 / #
Then failure to readers, because my sister, who is in her fifties, and read that Stephanie James book in the '80s, does not believe that that book, or Stephanie James are...
Jennifer Prokop 1:13:30 / #
No.
Sarah MacLean 1:13:31 / #
In fact, I had to tell her that Stephanie James was Jayne Ann Krentz. So she was like, "Whatever happened to her?"
Jennifer Prokop 1:13:36 / #
You're like, oh, it's better for you.
Sarah MacLean 1:13:38 / #
She did okay. (laughs)
Jennifer Prokop 1:13:40 / #
She's doing all right. That's the part I think that is really, in a lot of ways, just really almost wildly inspiring. Because I think it is so easy in our modern world, or wherever we are right now to think, if I don't, that it has to be a steady, upward trajectory. And if it's not, you know, if it's not that...
Sarah MacLean 1:14:08 / #
You're not an instant bestseller.
Jennifer Prokop 1:14:10 / #
Then you're a failure, and it really speaks to no, this is a marathon, it is not a sprint, and there are going to be times you're going to fall down. There's going to be times you have to, you know, reinvent yourself come up with a new name, abandon a sub-genre you love because it is not the right time to be on that wave.
Sarah MacLean 1:14:31 / #
Fantasy, I mean, speculative fiction, speculative romance, it still doesn't have a strong foothold, and it's not out of line to suggest that Jayne Ann Krentz is the founder of that particular sub-genre, and you know, still, we're still fighting for that to claim space there.
Jennifer Prokop 1:14:52 / #
So, I mean, I think that that's sometimes the hard part about romance is, you know, I think I'm a deeply pragmatic person, and sometimes I'm like, you know, the things I personally, as an individual reader want, like and think are great, or not what the market will bear right now. And you know what? Oh, well, figure out what is going on in the market right now and enjoy it 'til your thing comes back around. I don't know.
Sarah MacLean 1:14:52 / #
Yeah. And I think that that's kind of what I took away from this conversation, what I have taken away from most of my conversations with Jayne is you can have both, right? You can both write what you love, and write to market. I mean, there is a space for both of those things. But her pragmatism, to use your word, is a lot about sustaining a career. I mean, sometimes you write to market, because that's what the market wants, and you know, you can deliver it and you know, you can succeed with it. And you know, every one of those books makes room for you to write the book, you know, in space.
Jennifer Prokop 1:16:03 / #
The book, that right, eventually you hope to make room for. There was a part where she was talking about, we were like how's romance changed? And she joked and said, "cell phones," and she was really talking about, essentially, if you are right now, if you're talking about celebrities, or politicians or technology that exists right now, that it really limits you, because your, it kind of almost takes away from that mythological aspect.
Sarah MacLean 1:16:34 / #
Sure.
Jennifer Prokop 1:16:34 / #
And one of the things I found myself, everyone has heard me ranting and raving at some point or another about how annoyed I am when people are using really old pop culture only in their books, and I'm like, well, if you think about it as mythmaking, I guess people our age are really trying to entrench Ferris Bueller's Day Off and the American myth or whatever. But it's really interesting to also think about, I personally think still, when we see that disconnect between the author, and their personal myths, or cultural myths versus their characters, and this, so I just, I found this conversation with her to be so generative in thinking new ways about things that I spend a lot of time thinking about.
Sarah MacLean 1:17:21 / #
Yeah. Well, it's also that piece of, you know, the balance of doing the important, romance doing the important work of society, right.
Jennifer Prokop 1:17:32 / #
Yeah.
Sarah MacLean 1:17:33 / #
And also romance placing a character and a love story in a specific time.
Jennifer Prokop 1:17:40 / #
Right,
Sarah MacLean 1:17:40 / #
That, you know, 40 years from now, hopefully, we don't, we don't have that conversation anymore. So I think, I of course, always think about, you know, that is a struggle, that is a particular struggle with contemporaries, but it also is so important for us who don't, for those of us who don't write contemporaries to think about that, because the conversations that our characters are having on page. You know, the the work of the genre is to figure out how to have those conversations without aging the book, dating the book. And maybe sometimes that's impossible, you know, I don't know. I think about that Nora Roberts book we read where the hero smokes all the time.
Jennifer Prokop 1:18:23 / #
Sure.
Sarah MacLean 1:18:24 / #
And it's like, how could she have known?
Jennifer Prokop 1:18:26 / #
Of course. Well, and I mean, I think that's the part where it's like working too hard to make your books out of time sometimes means...
Sarah MacLean 1:18:38 / #
But sometimes, yeah, then you get like, I've been thinking about The Hating Game a lot recently, right? Because as you know, I love The Hating Game so much. And the movie, and one of the things that I think Sally made a real choice about is you have no idea, it's in a city, but the city is very amorphus, right? There's no, there's no city, because she didn't want to place it in, she didn't want to ground it in a place. And I think that there is a reason, that's one of the reasons why The Hating Game is a global success, because everybody can place it in their particular, the city they love the most. And then the movie, put it in New York, and it was like, oh, huh. Now these are New Yorkers in a car, you know?(laughs)
Jennifer Prokop 1:19:25 / #
Right, it changes it.
Sarah MacLean 1:19:26 / #
Why are they driving? (laughs)
Jennifer Prokop 1:19:28 / #
It's and these are I think, really, I mean, I could have this conversation over and over and over again. But I just, like I said, I think the thing that was really interesting for me is, I sometimes get really stuck in this conversation. I'm just you know, annoying the shit out of people saying the same thing over and over again, and I found this conversation with her to really give me new avenues for these questions and new ways to think about the genre itself. Well, I guess I would say also, thank you to everyone for letting me have my Vietnam moment again.
Sarah MacLean 1:19:58 / #
Hey, listen, I will, I will have you and whoever you want to talk to about Vietnam talk about Vietnam anytime. Yeah, but it's interesting because it proves that we don't know what we're doing all the time. It's the Venn, it's that Venn diagram, right? What your English teacher says the author was sure what the author was doing. And we don't know, because we can't, we, you know, that Vietnam thing is a perfect example of we know what we're trying to do sometimes. But when something that massive, you know, and I think about Vietnam or you know, COVID is happening around us, and we're not overtly talking about it, but it's in there, it's in all the text. And so there it is, right, the genre carrying the myth.
Jennifer Prokop 1:20:51 / #
Last week, I ended up reading this book, I actually don't recommend, called Everything and Less: The Novel in the Age of Amazon, and I found myself really having that moment. It's a nonfiction book by a Stanford professor, really disagreeing with a lot of what he said. And of course, then you can just, you know, take it to Twitter. And one of the things that he ended up talking about was the difference between, he admits that genre essentially is working, you can tell what genre's interested in only by looking at the collective.
Sarah MacLean 1:21:27 / #
I don't disagree with that.
Jennifer Prokop 1:21:28 / #
I absolutely agree with it. I was like, okay, we agree with this, but where we disagreed was him saying, essentially, he talked about Virginia Woolf and how, you know, Mrs. Dalloway, of course, is just superior, because it's the singular work of art as opposed to the genre, and I was kind of like, but that's what I'm actually interested in, is how that collective works.
Sarah MacLean 1:21:54 / #
Yeah.
Jennifer Prokop 1:21:54 / #
How does it work, that there is a hive mind where everyone is somehow chewing on the same thing? And I think Jayne answers it for us, right? We're grappling with our own mythmaking. And that is interesting to me, where this guy was sort of like meh, that's, you know, not interesting to him. It's just this totally different perspective. Mrs. Dalloway and genre can exist together. There's no reason to choose one or the other, we can have both. That's what's amazing about it.
Sarah MacLean 1:22:25 / #
One of the things that I've been really struggling with over the last couple of weeks, is, you know, this best of the year lists, right? Not the sub-genre list, not the best mystery of the year, the best romance of the year, but best overall books lists, which a lot of the publishing media are, they're kind of culling together. They, at the end of the year, they cull together what they believe are the best lists, the best of the books of the year, by virtue of what other, what the big critics have all named their ten best books, right? So it's, you know, everybody makes their list of ten, and the ones that are on multiple lists rise to the top. And so of course, if you have, say, The New York Times make a list of the 10 best books of the year, there might be one romance on it. It's rare, but there might be, you know, and other places, too. But that romance or that thriller, or that mystery, or that sci-fi novel, never makes it to that sort of, "and these are the 10 best novels of the year." And so I often think to myself, there's so much missing from these lists, and we know that by virtue of making a list, there's going to be stuff that's missing. But the idea that whole segments of mythmaking text, of myth text, is, are the myths of this time and place and society and culture are missing from these lists and just lost, right? Without Rebecca Romney, they're lost.
Jennifer Prokop 1:22:33 / #
Yeah.
Sarah MacLean 1:22:43 / #
What are we doing?
Jennifer Prokop 1:23:10 / #
So that's it. I mean, I was essentially having the same thought to myself, right. And I think, look, we obviously are genre fans for a lot of reasons, that we love romance for a lot of reasons.
Sarah MacLean 1:24:12 / #
But empirically, right. I don't read sci-fi, but I do think that surely there is a science fiction novel from the year that is remarkable and deserves to be held up as one of the best texts.
Jennifer Prokop 1:24:26 / #
I think, here's my theory. I remember when Stephen King used to be genre, and now he's like literature. And maybe it's just that there has to be, I don't know, maybe you just have to put in your time. I'm not sure.
Sarah MacLean 1:24:46 / #
I don't know. I mean, it's not like Nora hasn't put in her time, you know.
Jennifer Prokop 1:24:51 / #
I think there's a lot of you know, the patriarchy.
Sarah MacLean 1:24:54 / #
Oh, really? Do you think that? (laughs)
Jennifer Prokop 1:24:56 / #
I don't know. Maybe.
Sarah MacLean 1:24:57 / #
Anyway, Dangerous Men and Adventurous Women, it's awesome. And it's, every time we have one of these conversations, I think to myself, we're never going to get them all, right. We're never going to get every person who held the banner. But I'm really, really happy we got Jayne.
Jennifer Prokop 1:25:14 / #
Yeah, me too.
Sarah MacLean 1:25:15 / #
And I hope you all were too. I hope you were all inspired the way we were, and you know, overwhelmed the way we were.
Jennifer Prokop 1:25:23 / #
Oh, god, yeah. Even listening to it again, I was like, I'm just gonna sit here for a while. So brilliant.
Sarah MacLean 1:25:29 / #
We're so, so grateful.
Jennifer Prokop 1:25:32 / #
So before we go, it's worth saying that Jayne has a new book coming out on January 18, called Lightning in a Mirror. It is book three of the Fogg Lake trilogy, of which I have read all of them. I mentioned it actually on the episode. And again, this is part of a series that has to do with intuition and you know, like sort of some of the very things that she was talking about. So if you would like to prepare for that you could read the first two books, The Vanishing and All the Colors of Night and then prepare yourself for Lightning in the Mirror which comes out in a couple of weeks.
Sarah MacLean 1:26:07 / #
We are Fated Mates, you are listening to a Trailblazer episode, which we've been doing for all of Season Three and will likely continue to do until we die. (laughter) And you can listen to all the other Trailblazer episodes at fatedmates.net. You can find us @FatedMates on Twitter and @fatedmatespod on Instagram. Please tell us tell us how you're liking the Trailblazer episodes, shoot us emails if you would like Sarah@fatedmates.net or Jen@fatedmates.net. And tell us what you're thinking and shout about these Trailblazers because they deserve it.
Jennifer Prokop 1:26:51 / #
Next week is Passion with Lisa Valdez
Sarah MacLean 1:26:54 / #
Get ready. It's a ride. (laughs)
S04.03: Secret Baby Interstitial
We’re doing a big one this week — secret babies! We’re talking the babies and the pregnancies—and why they are such a juggernaut in romance. We’re talking about why people are all in on secret babies or absolutely all out on them, we’re pinpointing the itch they scratch and why have they installed such buttons in so many of us, and we’re getting to the bottom to why these secret babies are often sired by billionaires. It’s a ride.
Next week, our first read along is Amanda Quick’s Ravished—which Sarah describes as “Harriet, in a cave, with a rake.” It’s great. Get reading at: Amazon, Barnes & Noble, Apple Books, Kobo, or at your local indie.
Sponsored by Radish: Bottomless content; one cute app. Visit radish.social/fatedmates for 24 free coins and to read your first Radish story.
Show Notes
The secret baby trope can be broken down into secret baby or secret child. Secret pregnancy is just earlier on the timeline, while surprise pregnancy. Often, a secret baby plot happens because there is a fear that the baby is in danger.
More about the word Interstitial.
We recently re-released our bodily autonomy interstitial from 2019.
If you are on Facebook, join Sarah’s OSCRB group (Old School Romance Book Club) if you want more romance talk.
On some old school covers, you see lots of people with gravity defying hair.
Sarah mentioned the “Four Js” and she meant these old school historical romance powerhouses: Johanna Lindsay, Jude Deveraux, Julie Garwood, and Judith McNaught.
The most dangerous third rail in romance is cheating.
More about “the heir and the spare.”
The Right Stuff is a movie about astronauts, but Terms of Endearment is the movie where Jack Nicholson plays an astronaut. The movie was released in late 1983, and Long Time Coming was released in 1988.
The Cut went ahead and published two pieces about Sally Rooney’s latest book, and they loved the sex in Rooney's book and think folks want more, but somehow they’ve never heard of genre romance.
Given that description of the book Sarah was looking for, Jen thinks if it exists, it could have been a Harlequin Blaze, rather than a Loveswept or a Desire. But who knows!
Next week, we’re reading Ravished, a 1992 historical about fossils by Amanda Quick. Yes, actual fossils.
S03.40: Tangled Lies by Anne Stuart - Who Flies in White Linen?!
Continuing our conversation about Bright Bananas on the Romance Tree — this week we’re reading an extreme oldie, Anne Stuart’s Tangled Lies, famous for being a story about a heroine falling for her brother…except he’s not really her brother! It’s a RIDE. We talk about just how odd romance could be back in the day, about how this book might be an ancestor to dark romance, and about how alpha alpha heroes could really get. And then we talk about modern contemporary romance and how things are changing in traditional publishing.
Our next read along in some number of weeks (three? four?) is Kylie Scott’s Lead, one of our longtime favorites. Get it at Amazon, Apple Books, B&N, Kobo, or Bookshop.org!
Thank you, as always, for listening! Please follow us on your favorite podcasting app, and if you are up for leaving a rating or review there, we would be very grateful!
Show Notes
Bombshell comes out on Aug 24th. You should preorder it from WORD in Brooklyn, which will for sure come with some cool swag, including a special edition Fated Mates sticker. Best Friend Kelly did a Twitter poll asking people about their experiences ordering books + swag from Indie bookstores. Speaking of which, the art by Liz Parkes for The Soulmate Equation is the cutest!
You might need this page as you are reading Tangled Lies.
Speaking of books from your grandma’s attic, look at what HEAapologist found this week! If you want this feeling without having relatives cool enough to leave them lying around, just order a big lot of random romances from eBay. For individual titles, Jen thinks Thrift Books is better than Amazon because you don’t pay shipping for each individual title.
Rob Imes has a page on his blog where he keeps track of all the category lines through 1989. In the case of Tangled Lies, it was first published as Harlequin Intrigue #5, then it was rebranded in the Men Made in America series, and finally part of the Famous Firsts Collection that celebrated Harlequin's 60th anniversary.
Fiction DB is the place to do if you're looking for an author's backlist. Here is Anne Stuart's page, the one where the soldier and the nun have a baby together. Also, Catspaw.
Check out Adriana’s Instagram Live Series about telenovelas. Sarah was on to talk about Falcon Crest, because she imprinted on Lorenzo Llamas in his swim suit. His character's name was Lance Cumson. Sure.Speaking of Adriana, now is the time to preorder One Week to Claim it All. Jen and her brother Mike will be on to talk about Santa Barbara.
In case you don’t remember the movie Sneakers a very similar situation happens when Robert Redford is out for pizza in the 60s. And it looks like Jen & Sarah aren't the only ones who love this movie.
Why we were all afraid of piranhas and quicksand in the 80s. I don’t know why.
The Pondering Padre (from the original cover) looks like Friar Lawrence, but not like Friar Tuck. Please note: not that kind of Priest.
In the introduction, Anne Stuart mentioned being inspired by an old movie called Miss Tatlock's Millions (1948) but when it comes to "ope, maybe we're related" in pop culture, it seems hard not to talk about the influence of Flowers in the Attic and its famous incestual relationship. More recently, it was the Lannister twins in Game of Thrones or the folks in this Slate column.
In romance, it was more common that these attractions were the mark of villainous men lusting after their sisters, such as Prisoner of My Desire by Johanna Lindsey, and others by Bertrice Small and Stella Cameron. A more updated story is Mister Moneybags by Vi Keeland and Penelope Ward.
In film, along with Miss Tatlock's Millions, Sarah metioned Crimson Peak (2015), and Jen is kicking herself for not bringing up the terrific movie movie Lone Star (1996).
Jen wrote about paratext on Twitter, which of course turned into a cover conversation.
We have a lot of fun interviews with authors coming up in June, and our next read along (in a couple of weeks) will be Lead by Kylie Scott.
Vulture TV Critic Angelica Jade Bastién wrote a thread asking why she's bored, and wondering what happend to interesting failures. Donald Glover returned to Twitter to blame cancel culture for boring art, but then he canceled his own tweets later.
A few think pieces about why sexual content is being deplatformed on the: who is doing it, and who it impacts. I bet you're shocked to learn its about capitalism and right-wing politics. Why Sarah's Facebook group OSRBC keeps getting dragged into the net.
We have a lot of really fun guests coming up in the next few weeks: Tia Williams, Zoraida Cordova, and Nana Malone. Our next read along (at some point in June) will be Lead by Kylie Scott.
S03.18: Julie Garwood Interstitial: Damnit, Sara! (Not our Sarah!)
This week, we tried something a little different—recording a live interstitial episode! We’re talking about Jen’s formative queen, Julie Garwood, and we dig into dialogue, alphas who are instantly gone for their heroines, heroines who tame wild animals, arranged marriages between children, and why every Garwood historical feels medieval whether or not it actually is.
We recorded this episode live during a Fated States postcard-writing party to get out the vote for the January 5th runoff election in Georgia. If you’re a Georgia voter, please vote for Jon Ossoff and Reverend Raphael Warnock, and let’s finish what we started with the blue wave! If you’re up for it, please consider joining us for a phonebanking session on the evening of January 4th!
Next week, in advance of the launch of the Bridgerton series on Netflix (coming December 25th!), we’re reading Sarah’s favorite Julia Quinn novel, The Secret Diaries of Miss Miranda Cheever. Get it at Amazon, B&N, Kobo, Apple or at your local indie via bookshop.org.
Show Notes
Fated States is gearing up to phone bank on the evening of Jan 4 from 5-7 central time. Join us if you can!
Sarah mentioned seeing Berkley editor Cindy Hwang on a panel--it doesn't appear to have been recorded, but here is the description of the panel.
In Sarah’s OSRBC facebook group, there’s a longstanding search for a book where two people are on a beach and a wave throws them together, and then “oops they’re boning.” A few folks have suggested that maybe it was Pirate by Fabio. So check it out. His co-writer (a ghost writer is when they are unnamed) is Eugenia Rielly.
A teenage horror/romance that both Jen and Kelly loved was called The Ghosts of Departure Point. Probably came from the Scholastic Book Club, if we’re being honest.
In case you’re wondering, the copyright page will tell you if you’re holding a first printing or first edition. Here’s a bunch of people talking about why the edges of paperbacks were dyed.
RT Book Reviews and the RT conference once had Julie Garwood and Jude Deveraux on stage at the same time, and YouTube has the video! When Coronavirus is over, I highly recommend going to KissCon.
Nora Roberts is our Queen and last week a poor unfortunate soul named Debra learned that the hard way.
Obviously, Luke grew up on Tatooine. Hoth was that ice planet place, which is why the women in the Ice Planet Barbarians series call their new home Not-Hoth.
We’d be interested in hearing your interpretation of The Bechdel Test. Jen thinks the women can still talk about men AS LONG AS they also talk about other stuff, but Sarah thought it required no discussion of men at all which is pretty tough to find in romance. FWIW, Jen mentioned it in regards to The Bride because Jamie is so isolated and largely without women friends.
We like prologues and epilogues here at Fated Mates, but we understand not everyone agrees.
The feud between the families in The Gift is “like the Montagues and the Capulets, but worse.” Speaking of which, Kate Clayborn’s upcoming book, Love At First, is an homage to Romeo and Juliet.
This isn't exactly about the life expectancy in Scotland was in 1100, but it's close enough.
Vanessa Riley’s site has a great explainer about Black people during the Regency on her site. We talked about the Carribean in the Regency when we read Gentle Rogue.
It wasn't a "rip off" of Home Alone, it was just an allusion. Similarly, Nathan's whip reminded Sarah of Indiana Jones.
Are these books on audio? Why yes they are and Jen listened to The Bride in between recording and release of the episode and greatly enjoyed it.
Next week, we're reading The Secret Diaries of Miss Miranda Cheever by Julia Quinn
S02.44: Freewheeling with Kennedy Ryan
We’re so excited to have Kennedy Ryan with us this week — someone who was blooded not once, but twice by old school historicals! Listen to us talk powerful heroines, her brilliant Queen Move, how so much romance is political and why those old romances are still worth reading — problematic and all.
Summer is here, and next week is the final episode of Season Two, with a few others to come while we take a few weeks off. To read romance novels. Obviously. Season Three begins in August!
While we’re apart, if you are up for leaving a rating or review for the podcast on your podcasting app, we would be very grateful!
Oh, and did you know Sarah had a book out last week? Daring & the Duke is officially here! Get it at Amazon, Kobo, Barnes & Noble, Apple Books, Books-a-Million or from your local indie, or order it signed from the wonderful independent bookstore, Savoy Bookshop in RI, where she is for the. month of July!
Show Notes
Welcome Kennedy Ryan! You know what they say about pastors' kids. Just kidding, she was a late bloomer.
Teacher Jen would like a moment to talk about vocabulary acquisition: Parents can help kids learn new words by modeling, but reading is really the X factor. You can take this vocabulary test to see the rough size of your own vocabulary, but this information about how kids acquire new words is actually pretty simple: read lots of fiction when you're young.
Believe it or not, there was never a Carole Mortimer book titled Frustration. But perhaps you might be interested in her other single word titles: Untamed, Gypsy (yikes!), or Witchchild.
Prince had lots of protégées, including Vanity (Rick James's ex-girlfiend! thank you for that info Cheris Hodges!), Sheena Easton, and so many others. Speaking of Sheena Easton, Prince wrote the lyrics for Sugar Walls and it is pretty dirty. Ava DuVernay was slated to direct a documentary on Prince for Netflix, but stepped down over "creative differences." And if you can ever travel again, Jen highly recommends going on the tour of Paisley Park.
Jen mentioned that Iris Johansen, Fayrene Preston, and Kay Hooper wrote several series about a family called the Delaneys, and Kay Hooper tells the story of how it happened on her website. PS. the original covers for The Delaneys: The Untamed Years are amazing. And in case you're looking for a house to buy, maybe Iris Johansen's place might be to your liking?
Going back to the archives, Candace Proctor (who also writes as C.S. Harris) and Penelope Williamson are sisters?
So, in romances, being a wet nurse is just a plot device. But the history of wet nurses is, to no one's surprise, rather grim. Sunset Embrace is the Sandra Brown book with the wet nurse. In Vanessa Riley's newest-- A Duke, The Lady, and a Baby -- the heroine has to sneak in to feed her own son and manages to get herself hired as his wet nurse. In Romeo and Juliet the nurse said that Juliet was "The prettiest babe that e’er I nursed." In a pinch, Enfamil is the way to go.
Mary Queen of Scots didn't come to a good end. So maybe just read Shadowheart?
Meagan McKinney defrauded the government during Katrina and landed in jail, which is why we are never going to read one of her books for Fated Mates.
TRANSCRIPT
Sarah MacLean 0:00 / #
Well, we're almost done with the season but we have saved the best for last Jen.
Jennifer Prokop 0:06 / #
If I could break out into song right now and not scare people away. Maybe I would
Kennedy Ryan 0:13 / #
seriously
Sarah MacLean 0:15 / #
That is the dulcet, melodic, I would think probably tone of Kennedy Ryan one of our very favorites. Welcome Kennedy.
Kennedy Ryan 0:24 / #
Oh my gosh, you guys are my very favorites. I'm always pushing your podcast down people's throats.
Sarah MacLean 0:31 / #
That's what we like to hear.
Jennifer Prokop 0:32 / #
Yes it is.
Sarah MacLean 0:32 / #
T o hear about people just violently requiring people to listen to us.
Kennedy Ryan 0:36 / #
All the time. I was just screenshotting the one you guys did about old school romance. The one you did not too long ago, the Judith McNaught episode, I was shoving down every throat I could find last week so, I'm your pusher.
Sarah MacLean 0:51 / #
I like it. We're here for it. Welcome everybody to Fated Mates. We are really, really excited this week. I didn't know this. I feel Kennedy, you and I, we have just sort of unpacked our friendship to a new level. I had no idea you were such a fan of old school romances.
Kennedy Ryan 1:15 / #
Oh my gosh, yeah, I definitely am. A lot of times people will bring up some of the new stuff. And I'm like, Oh, I haven't read that yet. Sierra Simone and I have a joke because she's like, "how have you read all the old stuff? And there's all this great new stuff you haven't gotten to yet". I just keep rereading the old stuff it's so good. I'm that chick.
Jennifer Prokop 1:40 / #
I'm rereading a lot in these pandemic days. I really am.
Kennedy Ryan 1:44 / #
I have books that are annual rereads for me. Books that are built into my reading schedule. I have to reread this book, once a year. Certain books like, "Flowers from the Storm", like they're just certain books I have to read at least once a year.
Sarah MacLean 1:58 / #
Well, you are a mega Kinsale Stan
Kennedy Ryan 2:01 / #
Oh gosh yes. Mega, Mega. I tell people if you cut me I'm gonna bleed some Kinsale. I adore her. Everybody who knows me knows that.
Sarah MacLean 2:14 / #
Did you start with Kinsale? That how you came to her?
Jennifer Prokop 2:17 / #
Yeah. Tell us your romance journey. I feel like we should ask everybody this.
Sarah MacLean 2:23 / #
Are we just diving in.
Sarah MacLean 2:26 / #
We are. I mean, we'll come back around. We're just roaming.
Kennedy Ryan 2:29 / #
I'm ready, roaming romance. I am ready for it. So I think of myself as twice blooded. I started reading romance, well, for me, it's really young. I was in eighth grade. And you have to understand my parents are pastors. So they, they were very careful about what I listened to, what I saw on television, what I read was very much curated in our house. When I was in the eighth grade, one of my friends handed me "A Pirate to Love". I think it was "A Pirate to Love". No, it was "The Wolf and the Dove". And it was this old battered copy. Because I'm, I think I'm older than both of you. This was like, gosh, it was like the late 80s. When I was in the eighth grade because I yeah, I'm 47 so
Jennifer Prokop 3:22 / #
I'm almost 47 so we're very close.
Kennedy Ryan 3:25 / #
I still got you Jen. I still got you.
Sarah MacLean 3:28 / #
I'm so young.
Jennifer Prokop 3:30 / #
It's nice not to be the old lady on the podcast. I guess.
Kennedy Ryan 3:33 / #
I will gladly take the honor of old lady. So I was in the eighth grade. And, you know, I mean, romance was pretty, I mean, as we know it as a genre still really developing. Um, and so she gave me this tattered paperback of "The Wolf and the Dove". Of course, that's what it was. And I just consumed it.
Kennedy Ryan 3:58 / #
Still Sarah and I talk about it, I think because that was my first romance, medieval still holds a really special place in my heart.
Sarah MacLean 4:06 / #
Well, I mean, we've talked about this. All of us have talked about this. And certainly we've talked about it on the pod. But the these early books like blooded twice, I can't wait to hear who the second blooding is. But blooding twice is really interesting because those early books, I really think they install your buttons, your, you know, Primal sex buttons.
Jennifer Prokop 4:26 / #
I was gonna say plot buttons, but ok.
Sarah MacLean 4:32 / #
Both. Both.
Kennedy Ryan 4:34 / #
Yeah. And I mean, at the time, you know, you're I was in the eighth grade and I had no idea well, this book's kind of rapey or I had no concept of that. It was just like, I'm enjoying this, you know, it was just it was very sensory. I enjoyed the pull. You know, I was reading, you know, Wuthering Heights, or whatever. You know, "Beloved", I was reading literary fiction or whatever they were feeding you in school? And something that was completely pleasure. And also for me, because I was young and I was such a late bloomer, like, don't even ask me when I had my first kiss. It was like 11th grade. For me, it was just all fascinating, honestly, and to see a relationship that way. And there was history, you know, I did, I hadn't known much about the Normans. And, you know, these marriages being, you know, arranged by this king, you know, I didn't know a lot of those things. So I was actually learning those things as I was reading.
Sarah MacLean 5:36 / #
You know, that's one thing that we never talked about is the amount of learning that goes on for romance readers, especially when we're young. I mean, I always joke that like, my SAT scores were really great and verbal and really terrible in math. And the reason why they were great and verbal is because of romance novels, because I knew all the words.
Kennedy Ryan 5:55 / #
Absolutely. And my father, he was the Dean of Students. He's in higher education. And he would, when I was growing up, he would assign, this is gonna sound crazy, he would assign me letters of the dictionary. And I would just read the dictionary and he would come home and he would quiz me on "N", you know, and we would go back and forth until we could stump each other on an "N" word. Oh that sounded bad, bad choice of letters. But you know, and he would say, okay, when you're reading every time you come across a word that you don't know, write it down. And then over the next week, make sure you use it in a sentence.
Sarah MacLean 6:31 / #
You know, what I'm going to start using this for the summer with my daughter, this is such a good idea.
Kennedy Ryan 6:36 / #
It's amazing. And so my dad, that's what he would say, every time you're reading, you come across a word you don't know, write it down, look it up. You try to use it within a week so that it can become a part of your vocabulary. So I was doing that before. Then I started reading romance, you know that. You know,
Sarah MacLean 6:56 / #
You had all different words.
Kennedy Ryan 6:57 / #
All different words. Here's the thing you guys. I didn't know at first to keep it from my parents. I'm walking around, you know, I'm walking around. My mom is like, what is that? And she wanted to take it from me. And so I started smuggling romance novels into my house. I had them stuffed under my mattress, I would go to the library, and I would come out with like, my respectable books, and I would pack my back pack full of all of my, this is what I mean by twice blooded, because when I first came into romance, it was Joanna Lindsey, it was Kathleen Woodiwiss, and then I got into category. So it was Charlotte Lamb. It was Carol Mortimer, it was Robyn Donald, all those one name books by Carol Mortimer, like "Frustration". You're like, I have no idea what that means but I've got to read it. So my bag would be stuffed with all of my romance novels, and I would carry into the house all of my respectable ones. And then I would stuff them into the back of my closet and in my mattresses.
Sarah MacLean 8:02 / #
Oh my god, you turn to a life of crime.
Kennedy Ryan 8:04 / #
I actually did. I turned to a life of crime just to get my kicks.
Sarah MacLean 8:09 / #
The pastor's daughter. It's all there.
Jennifer Prokop 8:12 / #
I'm just like, podcast over.
Kennedy Ryan 8:17 / #
It was awful. It was awful. It was a secret life.
Sarah MacLean 8:20 / #
It was amazing. But you know what, so many of us did that. I don't know if I've ever told this story on the podcast. I've certainly told it in interviews, but I when, you know, when I was young, when I was in middle school, the library was across the Middle School parking lot. And you know, I would go there after school and they kept the romance novels literally in the dark. The lights were turned off in the aisles where they kept romances and I was like, well, this is clearly for me. And I like lurked in the darkness reading, you know, furtively any book that had Fabio on the cover and the reality is its like we are trained from, you know, infancy in romance to hide the reading.
Jennifer Prokop 9:06 / #
Yes. Can I tell you I think we've all had that, that experience. And so the thing that, like hurts me is when fellow romance readers talk about their kids wanting to read romance and them not letting them. And I'm just like
Sarah MacLean 9:22 / #
It's hard.
Jennifer Prokop 9:23 / #
But why? Don't you remember what that was like? Why are you doing that? It's really hard for me and I just keep my mouth shut. I leave romances all over my house. And you all know my extreme effin disappointment that my son cannot be bothered to read them. I'm just like, Oh, my God. I'm always like, Don't you want to take these to your friends?
Kennedy Ryan 9:48 / #
He's like, sure, mom.
Sarah MacLean 9:51 / #
Some day, I hope to have Tessa Dare on the podcast, but one of my favorite Tessa stories, she has a teenage daughter, but right when that you know, 12 or 13, that sort of sweet spot of when you find out that sex exists and you're like, "what is this about"? She got a call, I think from a mom at her school, who was like, all the kids are passing around your books, because they're reading and they're reading all the salaciousness. And Tessa's like, well, I don't know what to say about that. Like, I'm not gonna tell you that it's not a good, like, ultimately, wouldn't you like your kids to know that when they have sex, they should be having it in a thoughtful way with people who care about their pleasure and care about them. Right, and it's a tricky thing. I mean, I get it, I get the hesitance. But yeah, I mean, I can remember just sort of skipping over sex scenes for a long time because I just didn't, yeah, get it. So I mean, especially in those early
Jennifer Prokop 10:59 / #
The year of the euphemism.
Sarah MacLean 11:01 / #
What on earth is going on?
Jennifer Prokop 11:04 / #
What's a velvet cave?
Kennedy Ryan 11:10 / #
What is the member?
Sarah MacLean 11:14 / #
Exactly, like you know it's something is going on.
Jennifer Prokop 11:17 / #
Is this a club that can be joined?
Kennedy Ryan 11:19 / #
I'm still stuck on the velvet cave. Its not so warm.
Jennifer Prokop 11:26 / #
You know satellite radio brings a lot of like, when we used to drive you know back before pandemic times, and had to go places, I heard the song by Sheena Easton and I really remember liking as a kid of sugar walls and almost drove off the road at how filthy it is.
Kennedy Ryan 11:50 / #
Oh, yes.
Sarah MacLean 11:51 / #
Oh, well, I mean, can we talk about Prince?
Jennifer Prokop 11:53 / #
I'm gonna say Prince wrote that right?
Sarah MacLean 11:56 / #
Well, yeah. Sheena Easton. So here's my here's a fun fact. And surely this is about to become the musical theme of this episode. One of Eric's like very favorite things is to like drop Prince protege names just in conversation. Yeah and I so I know Yeah, Sheena Easton was a prince protege and he probably wrote that song for her.
Kennedy Ryan 12:15 / #
I'm pretty sure.
Jennifer Prokop 12:17 / #
He wrote all of those sex euphemisms songs.
Kennedy Ryan 12:20 / #
Darling Nikki.
Sarah MacLean 12:27 / #
Oh my boy. I mean,
Kennedy Ryan 12:32 / #
I think Vanity was one of his protege. All of them and my husband had all of them on his wall growing up, he actually saw Prince like in the bathtub before Prince, you know, stopped doing his nasty stuff live. We got a whole, he calls a door, he calls it a hymn. He refers to a door as our hymn. The full extended version now.
Jennifer Prokop 13:16 / #
You guys just this morning Charis Hodges on Twitter posted the most amazing tweet it says, "I was today years old when I found out that Prince stole Rick James's woman and turned her into Vanity". Prince a hero in every way.
Kennedy Ryan 13:35 / #
He rest in purple.
Sarah MacLean 13:39 / #
Kennedy, you just became Eric our producers favorite romance novelist. Yeah. Period. Hands down. You're gonna have to come back again and again.
Kennedy Ryan 13:50 / #
No effort.
Sarah MacLean 13:51 / #
You said vanity. Oh was a prince protege. And now that's it. You're his favorite.
Kennedy Ryan 13:56 / #
I will not be dethroned. I will figure out how to stay at that top spot.
Jennifer Prokop 14:01 / #
There's no one else. We've never met someone who knew so much obscure Prince trivia. To all of our listeners out there, when the world gets back to normal if you're ever in Minneapolis, please go visit, his studio is now like a tour you can go on and we went as a family and it was honestly one of the best like touristy things we've ever done. It was awesome.
Kennedy Ryan 14:30 / #
I would just die. And you know his family has given Ava DuVernay who I mean I have to genuflect when I say her name because she's a goddess. But the family has given her access to like his full catalogue, like hundreds of songs he never published. And she's working on something about his life. Ava and Prince together. Shut the house down.
Sarah MacLean 14:53 / #
Well, so euphemisms, sex euphemism.
Kennedy Ryan 14:56 / #
Yeah, Like the velvet cave, which sounds very woman.
Sarah MacLean 15:00 / #
Similar to Prince, these early sex scenes, that you might not understand exactly what's going on but you definitely know it's dirty.
Kennedy Ryan 15:08 / #
Yes, yes.
Sarah MacLean 15:11 / #
Yeah, okay, so we have Woodiwiss, you are like blooded by the original.
Kennedy Ryan 15:19 / #
Yeah, I mean
Sarah MacLean 15:20 / #
You're like the most powerful vampire.
Kennedy Ryan 15:22 / #
I a m an original. It was, Woodiwiss, you know, if you've ever read "The Wolf and The Dove" like, it does, it has the rapey overtones because, in the beginning, I was about to say I don't want to spoil "The Wolf and The Dove", I mean come on now.
Sarah MacLean 15:45 / #
It's 50 years old I think its ok.
Kennedy Ryan 15:50 / #
You know, when it first starts she does a great job of, redirecting you, misdirecting you for the entire novel, you know, so you think that I hate that I still know these names. You think that Ragnar has raped her? But he hasn't, you know and then so he hasn't raped her, her mother intervened and put some blood on, you know her kirtle.
Sarah MacLean 16:15 / #
Oh, famous blood. All the blood scenes.
Blood on the kirtle trick was and this wolf God doesn't actually rape her, he instead chained her to the foot of his bed and wants everyone else to think that he's raping her. Because he has his machismo that he has to maintain, but he doesn't actually rape her. And when they come together, member to velvet cave, it's painful and we think it's painful because, hey, she's only had sex one time and Wulfgar is hulking with a huge member, but it's really because she's an actual virgin and she wasn't raped.
And everyone knows sex is never painful after the first time. And the first time you bleed, like a gallon of blood.
Kennedy Ryan 17:03 / #
You have to, even though we dont have to display the sheets anymore. It still gushes from your body.
Jennifer Prokop 17:10 / #
I will say I remember a lot of those old historicals where like people displayed the sheets. I will say there's like, there's like installing your buttons. And then there's like, the anti buttons, whatever you read, and I remember like as a teenager reading those scenes and being like, listen, what the fuck this is not ok.
Kennedy Ryan 17:31 / #
Never okay.
Sarah MacLean 17:34 / #
So yeah, but also there's something. It goes back to we've talked about this, whenever we talk about medievals, right, and then being them sort of having that kind of over the top. Wild bananas storyline. And the reality is, is like something about that is really primal for so many of us. And there's something, but again it sort of strips away all the trappings of gentility and hands you a hero who is just raw patriarchy and has to be just destroyed. And you're what, tell everybody what you're reading right now?
Kennedy Ryan 18:17 / #
Well, I'm usually I'm usually so I have come to a place where my life is just really really hectic and most of the books I consume are through audio. So I'm listening to "Forbidden" by Beverly Jenkins.
Jennifer Prokop 18:31 / #
God one of my favorites.
Kennedy Ryan 18:32 / #
I just finished on audio. I'm just telling people because it's spectacular. It's not even historical. I just finished "Beach Read" on audio, which is fantastic.
Sarah MacLean 18:44 / #
I love that book, I really did. Jen hasn't read it but its so good.
Kennedy Ryan 18:48 / #
It's so good. Jen. The writing like sparkles. Anyway, it sparkles. But I everybody who knows me knows that like historical romance is kind of it's like my favorite. And I have all the Kinsale, all they can sell on audio. Certain books they're so old you can't even get them in audio and I love a lot of those, like "Magnificent Rose".
Sarah MacLean 19:16 / #
Iris Johansen.
Kennedy Ryan 19:17 / #
Iris Johansen and you know what's so funny is I caught I said that I was twice blooded. Like when I was first blooded. I only read romance from the eighth grade until my senior year in high school. So I like five years of romance and a lot of that was category and I didn't know
Sarah MacLean 19:32 / #
Wait, so you stopped reading romance, cold turkey?
Kennedy Ryan 19:37 / #
You know, it's like, I know I went into college and I stopped reading romance and I just I don't know if it was because I was adjusting to so many things and there was so much to read and there was so much to do, but I just lost it. You know, when I started reading other things and doing other things and I just kind of lost romance for a really long time. I didn't pick romance back up until I was close to 40 years old. I had, my son has autism, and I had started a foundation for families who have children with autism. And I was running that foundation. And I was of course, raising a child with special needs. And I was advocating for other families. My whole life, like, it was autism and everything I read, everything I consumed was around special needs and waivers. I was drowning honestly. And I needed something for myself, I needed an escape. I needed something that just was purely pleasure for me. And I just remembered how much I loved romance. And I just picked up, I started going to the library again like just on my own picking up some of the things that I loved before, but I don't even remember, Kinsale I don't even think was in the mix. When I was blooded the first time, when I was first blooded I think Iris Johansen was I don't know if you guys remember she used to write for like Silhouette, some category romance.
Jennifer Prokop 21:01 / #
She wrote for Love Swept. They were so good.
Sarah MacLean 21:05 / #
They were so good.
Kennedy Ryan 21:07 / #
And some of the plots were like whoa, like over the top. I'm trying to think of this one it had like magical realism, I cannot remember the name of it. But she was like a, not a sorceress, but it's just it's some I was like
Jennifer Prokop 21:22 / #
I bet it was, "This Fear Splendor".
Kennedy Ryan 21:24 / #
I bet it was, "This Fear Splendor".
Jennifer Prokop 21:27 / #
And the reason I know that is because that's the one where they have sex on the horse and she's some sort of magical like Jensen expert, an expert I yeah, there was like a whole like kind of series where it was like her and Fayrene Preston and Kay Hooper.
Kennedy Ryan 21:45 / #
Kay Hooper, oh my gosh. When you said Kay Hooper and I remembered.
Jennifer Prokop 21:49 / #
And they would write like the three of them would write these trilogies where they each took one person and they would all come out and they did like the Delaneys which I think is what the but yeah, it was a lot.
Kennedy Ryan 22:04 / #
It was a lot right and so I remember that and so I remembered I liked Iris Johansen and I picked up in this whole reblooding, my second blooding, Kinsale was out and Iris Johansen had written the, "Magnificent Rogue". And that's the one I started rereading. And it is fantastic.
Sarah MacLean 22:27 / #
Also medieval.
Kennedy Ryan 22:29 / #
Again, also a medieval. It's and just to give you for anybody, and also I pride myself on kind of obscure historical romances that went, because it's like my secret pride when people ask for my favorite and I say something like, and some people will know these like "Night in Eden" by Candace Proctor.
Sarah MacLean 22:50 / #
Oh, I don't know that one.
Kennedy Ryan 22:55 / #
You guys, okay.
Sarah MacLean 22:56 / #
I'm reading it right now.
Kennedy Ryan 22:57 / #
Do you know Penelope Williamson?
Sarah MacLean 22:59 / #
Yes. Of course.
Kennedy Ryan 23:01 / #
Okay, so Penelope Williamson.
Sarah MacLean 23:02 / #
Wait, first repeat the other one. Now I got a pen cap in my mouth.
Kennedy Ryan 23:06 / #
I'm gonna start with who have the you know, Penelope Williamson, right. So I read some of hers like she wrote. "Wild Yearning". She wrote, she has a medieval that I love and I can't read the name right off the top, but I will anyway so you know, Penelope Williams, Candace Proctor is her sister.
Sarah MacLean 23:24 / #
What's what?
Kennedy Ryan 23:26 / #
When I found that out my mom was completely blown. And one of my favorite novels is "Night in Eden", and this is written like in '95 '97. And it reminds me and you know, everything in that that period was Regency or Medieval or you know, it was
Sarah MacLean 23:42 / #
It was really, it was the heyday of Medievals the early 90s. Yeah.
Kennedy Ryan 23:48 / #
So this felt so different because "Night in Eden", is about it's in the 1800s I can't remember where in the 1800s maybe mid
Sarah MacLean 23:59 / #
Who cares, yeah, we did a whole episode where we decided readers don't care.
Kennedy Ryan 24:03 / #
Yeah. But I think if I did Regency era, okay, so, um, she, the heroine kills her husband. She had a baby who died. You guys, this is fantastic because it's not even in England. She starts in England. I think she starts in England. And then she gets shipped to New South Wales as a prisoner like
Jennifer Prokop 24:26 / #
Dang.
Kennedy Ryan 24:27 / #
You don't even understand
Sarah MacLean 24:28 / #
Now, I feel like I do.
Jennifer Prokop 24:29 / #
I feel like, I'm like
Sarah MacLean 24:32 / #
Stick to Australia feels real familiar.
Kennedy Ryan 24:35 / #
So good, you guys. And she becomes an indentured servant. And she her baby. She's pregnant. She has her baby in prison. And then she's on the ship on her way to I don't want to give the whole thing away because a lot of people may have never read this.
Jennifer Prokop 24:48 / #
This is probably the first two chapters, who are we kidding I mean.
Kennedy Ryan 24:50 / #
It's at the beginning. I'm not gonna tell you everything because the plot get bananas. The plot gets bananas. You know, we love bananas, but so she gets on the ship. On her way to New South Wales as an indentured servant. Because she killed her husband. She was it was an accident. But of course but
Sarah MacLean 25:08 / #
But what but he was terrible and deserved it surely.
Kennedy Ryan 25:11 / #
But he was terrible. He was cheating on her. Okay, we'll find that out later, so I dont want to spoil things. Anyway, so her baby dies, her baby dies.
Sarah MacLean 25:21 / #
Candace Proctor just breaking rules.
Kennedy Ryan 25:23 / #
Girl, you just, all the rules this is '97.
Sarah MacLean 25:26 / #
Oh my god, it's not that early. Yeah, like to give everybody a frame of reference the Bridgerton's the following year are gonna be out.
Kennedy Ryan 25:35 / #
Wow, I didn't even make that connection.
Jennifer Prokop 25:37 / #
But I do. I feel like there is and I feel like it's true today too, that they're sort of like always a strain of romance that is doing the most.
Kennedy Ryan 25:48 / #
Yeah, yeah.
Sarah MacLean 25:49 / #
Well, it's real fearlessness.
Kennedy Ryan 25:52 / #
You guys you have no idea. This is so fearless. Because the captain who she's going to go work for, you know, work out her term for, he is of course, gorgeous, but he's just lost his wife. He has a baby. She has to nurse the baby. She nurses his baby you guys. Because shes got her milk.
Jennifer Prokop 26:16 / #
Of course she does.
Sarah MacLean 26:16 / #
It's like that Sandra Brown book. That we talked about. There's a old school Sandra Brown from earlier
Jennifer Prokop 26:22 / #
Where shes the wet nurse. Yeah.
Kennedy Ryan 26:23 / #
Yes wet nurse. Yes. That is the technical term.
Jennifer Prokop 26:30 / #
It's also in Romeo and Juliet isn't the nurse of her. It's her wet nurse.
Sarah MacLean 26:36 / #
It's rich people hired wet nurses back in the day.
Jennifer Prokop 26:42 / #
I hired a wet nurse to it was called Enfamil, god damn, people were like, isn't formula expensive? I was like, I'm gonna send this motherfucker off to college one day. I can afford a can of formula a week my god.
Kennedy Ryan 27:12 / #
I love it. The modern wet nurse. So yeah anyway I won't tell any more but it is fan freaking tastic.
Sarah MacLean 27:16 / #
well I know what I'm reading at the beach next month.
Kennedy Ryan 27:19 / #
God it is so good it has to build that's the other thing is I love the stories that really build and so "Flowers from the Storm" that's why I love Kinsale so much it and a lot of my friends when, I feel like I'm all over the place because you asked what I'm reading now I'm rereading "Magnificent Rogue".
Sarah MacLean 27:34 / #
Right thats what I was angling for. Got a better there's a better story in here. Candace Proctor.
Kennedy Ryan 27:41 / #
Oh gosh, Candace Proctor just nice a "Night in Eden". And so with "Magnificent Rogue". I don't know why I picked it up because I'm listening. I'm listening to "Forbidden" now of course, and I will read things and then listen to them. So I'm listening to that. It's amazing, but I just you know, picked up "Magnificent Rogue" again. And I was like, this is all about women's power, like completely and just to give people a setting it is Medieval. It's asked me to blitz like, well,
Sarah MacLean 28:12 / #
It's Scotland, isn't it?
Kennedy Ryan 28:13 / #
Yes, it is. He's a Highlander. He is a Scottish Earl. And he has an island, Cray coo. I'm not may not be pronouncing that. But he basically bends the knee to nobody. And Queen Elizabeth captures him. And this is before Mary, Mary Queen of Scots is executed. It's like right before she's executed. And it is the the plot is so what is woven so tightly and there's so much I love misdirection. There's so much misdirection, and then he is amazing. Like, he is incredible. He's tall, he has dark hair, he's gorgeous. He's arrogant, but not in like a douchey way in like impotence, you know, kind of way. She wants him, she's fought, she has captured him. She's been trying to capture him for years, been watching him for years and realizes that he's the perfect candidate to do what she needs me to do, which is to marry this young girl who is a royal bastard. We are led to believe and I'm not going to say that it's not because someone might read this. And it's too brilliant for me to give away. Even though it's 30 years old. Anyone who's somebody who's reading it for the first time, and we are, you know, she's the bastard daughter of Mary. And of course, there's all this tension between Mary and Elizabeth. And then James is on the throne in Scotland, like it's all of this royal intrigue. And then there's this girl who is somebodies royal bastard, who has been kept by this evil priest who has been like beating her and who has been feeding her all kinds of religious nonsense for her whole life. And it reminds me of, 0kay, this is what reminds me of McNaught's "Kingdom of Dreams". Wait did I just say that right? Yes. Okay, um, all she wants is home. All she wants is family. She feels like she's been starved for that. And when she sees his clan, because he does have to marry her, he marries her. And
Sarah MacLean 30:17 / #
Isn't it a marriage of, it's they make a deal is not going to be
Kennedy Ryan 30:21 / #
Its a hand fast. That's what they do. So it's short, it's supposed to be short. And the reason he does that is because he recognizes she's a political pawn. And she is, he is all about his Island. You know, he doesn't bend the knee to anybody else. He is like, I'm self contained over here. People want me for my trade routes. We got our own money. I don't want to be in nobody's, I don't want to fight anybody's war. Like he's possessively protective of his people. And she goes, I want to belong. You know, she sees the way he takes care of his people, the way he, because the thing that Queen Elizabeth uses to get him to marry her is that one of his kinsmen is with him and he's like, you can do whatever you want to do to me. I don't care. But then she says, I will hang him right now if you don't marry her. And he does. You know, he's like, you can kill me but you can't touch. He says, I protect what's mine. Nobody's ever gonna hurt with mine. And mine, mine mine, mine,
Sarah MacLean 31:21 / #
Mine, mine, mine mine mine.
That's my id, you know mine mine mine mine mine. But it's not even just applied to her. It's applied to anyone who's under his protection. She compares him to a falcon who spreads his wings over his whole clan and she goes, I want to be in the shadow. Oh my god.
Put it in my veins.
Kennedy Ryan 31:44 / #
She starts to find her power. And she is some royals daughter and he start, he knows that. But she starts to realize it. And she starts to realize she has power even when like even when they have sex like for the first time and second time around. Whatever, she starts to articulate the power for own pleasure, and he teaches her that he's like, you have power over me, I can't resist you. Do you know what I mean? It's like, and then
Sarah MacLean 32:12 / #
I'm going to go back and reread this book right now.
Kennedy Ryan 32:15 / #
There's another woman who comes and she's smiling and she's innocent. And as soon as the door like with all the guys, and as soon as the door closes, she's like, okay, here's, here's what we're gonna do. You know, its like power, she understands the patriarchy she's working inside of, and how to leverage her gifts and her power to get around them. You know, she's always, they're always looking for workarounds. And I love that about this book. And if she becomes, in the beginning, she's timid. She's weak on the surface, but she has this like steel backbone, and you begin to see her rise like and the power, by the end of the book is so clearly her novel. It's so clearly her story. It's so clearly she is the most powerful piece on the whole board. And he recognizes that too. I don't want to give it away, the 30 year spoiler, but at the end even he's like, what do you want me to do? I will leave my clan, I will do this, I will do whatever, you know, it's just the joy of it. So empowering.
Sarah MacLean 33:16 / #
You know what's interesting, though, is we talk so much about these crazy like, over the top plots. And the reality is is like, they're not they don't they're not just, they don't just happen to be they're overt and they have, they are there so that stories like this can overtly discuss power and how women have it and how women use it and where power comes from and how it can be wielded. Yeah, when especially when it's obscure power.
Jennifer Prokop 33:49 / #
I think it's about persistence to right like what we see is like this evolution of women in the face of like, you have to keep if you want to outsmart the patriarchy It's gonna take persistent hard work that you're going to keep doing in as many ways as you can until you get what you want and get what you need.
Sarah MacLean 34:09 / #
But these power moves, are they I mean, what's interesting is that these older plots, I mean, they don't really happen as much anymore in current day, but we still have heroines who can make Queen moves, don't we Kennedy?
Jennifer Prokop 34:28 / #
Oh Sarah.
Kennedy Ryan 34:28 / #
Seg to the way.
Sarah MacLean 34:30 / #
Rim shot!
Kennedy Ryan 34:37 / #
You're as smooth as ribbons.
Sarah MacLean 34:43 / #
No, but so I mean, I'm gonna just I'm just gonna like fangirl over "Queen Move" for a little bit here because I think so. You know, Jen talks a lot about when people sort of hit their Imperial period as writers and I feel like I have always loved your writing. I've always felt like you "take the finger" like you lean into fear when you're writing. And I think that and I think you're a magnificent writer. But "Queen Move" is like, elevated to a new. I mean the whole series but like, "Queen Move" is like, I feel like you are, you're writing at the top of the game, not your game, the game.
Kennedy Ryan 35:24 / #
My mouth is hanging open.
Sarah MacLean 35:29 / #
It just feels to me but part of what's glorious about "Queen Move", is this magnificent heroine, who is just, she you back her up against the wall emotionally right from the start from like page one. And then you unpack. I mean, there's a lot to love about this book. It's also really epic, in the way, that some of these old romances of I can see the bones of your blooding and in this book, you know and part of that is because I've just spent a year with Jen like really unpacking, what the bones of romance are. And it's clear to me that you're, you've been taught to write romance by all the people who taught me to write romance, too. So of course, I'm like naturally drawn to your books. But there's something just like
Kennedy Ryan 36:17 / #
Same because I just finished Daring. So fan girl over here. But you already know that I was texting you the whole time.
Sarah MacLean 36:24 / #
This is my turn. This is, it's my podcast, so I get to talk. So this so there's this epicness about the whole story, especially because you also are telling the story of multiple generations. Yeah. But, um, this I wonder if you could talk a little bit about the evolution of this particular heroine and like, and just tell everybody a little bit about where you came, how you came to her?
Kennedy Ryan 36:50 / #
You know, so the heroines name is Kimba. And for anyone who read "All the King's Men" duet, she is the best friend in The first two books of you know, the duet, "The Kingmaker", and "The Rebel King". And Linux is the heroine in that and just to give context, it's kind of like scandalous in the sense that they're like gladiators. You know, they're like white hat girls. So they start their own political consulting firm specifically to install people in power, who they believe will advance the causes of marginalized people. And so our heroine in those the duet is Native American, she's Yabba pi Apache. And Kimbo of course, is black. And so they are like all about the brown girls all about the black girls all about queer people, like they're all about marginalized groups and making sure that we're putting people in power who are going to advance those causes. And so I won't talk about everything that happens in the duet because that is bananas. That is a lot.
Sarah MacLean 37:54 / #
But like magnificently bananas. I'm here for all these. This is my Like I'm here from contemporary 2020 romance to take these risks, because I think we're still having these conversations. The patriarchy still exists. It's still, it's still coming for marginalized groups and women and, and it feels like these big stories deserve to be told now more than ever. So in some ways, they just have to be twisted a little bit.
Kennedy Ryan 38:26 / #
Yeah I think so and I think one thing that was interesting for me was when you talk about you know, how you're blooded, obviously the book that blooded me once and then twice and my twice blooding. My second blooding, that's when I discovered Kinsale, who is I mean, to me, like Kinsale is like the highest bar you can reach, you know, 'Flowers From the Storm", I adore. I found and I know, I just slipped back in historical mode. I'm sorry. I'll get there.
Sarah MacLean 38:57 / #
Come back around. It's fine.
Kennedy Ryan 38:58 / #
"Flowers From the Storm". When I read it, I just kind of sat there like, I can't even process what just happened, you know, because and I think when you talk about who are the writers who inspire you, I'm not even saying that I'm anywhere close or whatever be to Kinsale, but she is like the little angel on my shoulder when I'm writing because she does not pander to readers. She doesn't say, "Oh, they may not know this word", or she doesn't say,"Oh, this might be too hard". Or she doesn't say "wow, they're gonna have to get through this first". She is fearless. And she's like, either you're with me or you're not? Yes, the Duke is gonna have a stroke. And no, he's not going to speak right for the rest of the book. And yes she's a Quaker and she's gonna say "thee and thou" for the whole book deal with it. You know, it's like she is just and the intricacy of the way she writes in the way she developed plots, it affects me. And that kind of just for an example, when you read "Shadow Heart", which again Medieval, you know she has a medieval, not even a duology because they're standalone, but it's "For My Lady's Heart". Yeah, they're companions for my lady's heart and then years later she writes shadow heart and the hero is the best antihero he has an actual assassin.
Jennifer Prokop 40:20 / #
I love assassins I do.
Kennedy Ryan 40:24 / #
I love assassins. Okay, this is the level of assassin this dude is he's tried there and I think street market and he and again it's Medieval and he needs her to shut up and she's screaming and screaming and to me she doesn't get it. He does that like pressure point face and neck. And she faints. She fainted. And He is ruthless. I know it sounds like an asshole but he's amazing.
Sarah MacLean 40:57 / #
I like that. I know he sounds like an asshole.
Kennedy Ryan 40:59 / #
But this is the thing. She becomes again the same as like with the "Magnificent Rogue", she is the heir to something that he and another guy have been fighting for. She's the rightful heir to it. Like she is the princess. And they've been fighting because the throne has been vacant and she takes the throne. But at the beginning she's just like this simple farm girl you know who is kind of stumbling along and doesn't even know her own power. But there are elements Now think about how long ago, this was elements of BDSM strong elements of BDSM in a Mideval.
Sarah MacLean 41:35 / #
Kinsale is real kinky.
Kennedy Ryan 41:37 / #
She is oh my gosh, when I tell you, and this is the brilliance of Kinsale.
Sarah MacLean 41:43 / #
Jen is like "what is happening"
Jennifer Prokop 41:45 / #
I'm enjoying it all.
Kennedy Ryan 41:48 / #
Okay, so it's a Medieval we're going to I'm going to get back to Queen so sorry. It was a Medieval, we're going right we're moving right along and the whole time I'm in love with him like I'm in love with him because he's magnificent and he is fearless, and he's ruthless, but also protective and obviously really into her. And she discovers that she has these dominant kind of tendencies and he who was like so powerful, so alpha has these, you know tendencies where he wants to be dominated in an instance you know, in sexual situations and so they start to play with that. And I'm the whole time I love dual POV and it's it's just her POV, her POV and the whole time like, gosh, I would love to know what he's thinking. Chapter 17 she has him, he's much taller than she is. He's standing against the wall she is she gets on a step so that she can mount him. And all of a sudden, like chapter 17 or something, it switches to his point of view. We have not heard his point of view for 17 chapter.
Sarah MacLean 42:51 / #
Magnificent. That is a baller move.
Kennedy Ryan 42:56 / #
Baller move like drop the mic.
Jennifer Prokop 42:59 / #
This is where I've got to tell you as a reader, I don't like it. I'll tell you why. Cuz now I'm like, listen, you've been keeping this man from me.
Kennedy Ryan 43:13 / #
But you get him for the rest of the book Jen, the rest of the book. It works so hard. Like, because its around chapter 17 somewhere around there. And then he's there for the rest of the book, it switches points of view for the rest of the book. And it is just anyway, it's magnificent. So that kind of just intricacy, of plot, just saying readers, just come with me, you know, I'm not looking over our shoulder like, Are you still with me? Are you still with me? I'm like, okay, either you're coming or you're not like, Yeah, and I really hope that you do. And I'm going to try to make it as easy for you as possible. But I'm not going to compromise on the story that I want to tell. And I see that, that in Kinsale like that is, it's some, it's just magnificent in her.
Sarah MacLean 43:59 / #
I think this is the thing right Jen, Jen and I were talking this morning about a different book. And we were, we were just having conversation about whether or not she's reading a book that I've already read and and whether or not it worked for her and, and I, here's my problem is as a writer, I really like it when someone takes that risk. Like, no one's ever done this thing before. Maybe it won't work, but I'm going to do it and we'll see. Yeah, right. And I think that that, that confidence, and I do think it is con, I think it's learned. I think sometimes you see that in a debut and it's naive. It's not the right word like Yeah, right. It's just that you've never you don't know what you don't know. And so you just sort of, you're just writing into the wind, and you end up writing some sort of book that really sort of pushes the boundaries of the genre in an really interesting way. But often when we see that in a debut, the following books can't keep up with that. Yeah, so but when somebody like Kinsale pulls this behavior or you, Kennedy, then what you're seeing is confidence in skill, in like the writers confidence in their own skill, but also a sort of very clear belief that readers will follow.
Jennifer Prokop 45:16 / #
Yeah, I mean, yeah, I joked or whatever but like, right, I think it all it things work if the craft is there and one of the things I actually like really struggle with and I can't imagine you two as authors do not either, is the sort of narrative that like writing romance is just like, it's always the same. And you know, it's just this like, silly thing when you know, women are well used to be that women do, you know, that it's just a silly genre. And I think that when people take big risks with craft, their craft as authors, right? I want, I want the world to appreciate. I don't really actually maybe care what the world thinks I want romance readers, at least to appreciate that there's work that goes into this right. Like reader that readers are seeing, you know, again, that Imperial period thing like, right, like we are seeing authors that are making really explicit choices and so given what you just described about this book it actually totally makes sense to me like she unlocks him somehow and now he's on the page.
Sarah MacLean 46:16 / #
And what a great use of sex to in that moment. Anyway, stop right there I'm cutting Jen.
Jennifer Prokop 46:21 / #
No, no, but I think like that's the part I, the thing about like, the bananas books kind of narrative is, we as insiders to the genre, like see what it's doing, but I sometimes feel like outsiders to the genre use it as like a weapon a snicker. That's, you know, I don't really care but I went inside I just want us to appreciate like, craft choices are our craft choices, and it's not accidental people are making decisions and I do like that, despite my earlier.
Sarah MacLean 46:57 / #
I mean, this is one of those things Jen to where it's so I mean, I'm sure I know I know you well enough now that I know that you are very you are really enjoying this conversation with Kennedy. And I think that part of it is the joy of like talking to somebody who knows the history. You know, we're about to, next week, we have an episode recorded with Steve Ammondon and it talks about somebody who just knows every knows the history of the genre and is able to really unpack why. You know, it's like that scene in "The Devil Wears Prada" where. What's her name? Help me, Help me know the other one. Marianda, what's her name? Sarah, the actress though. Meryl Streep or Meryl Streep says to Anne Hathaway like you're wearing yes, that blue sweater.
movie dialogue 47:51 / #
Oscar de la Renta did a collection of civilian gowns and then I think it was the salary or wasn't it who showed civilian military jackets. I think we need a jacket here.
Sarah MacLean 47:59 / #
Yeah. On the cover of Vogue, yes. Like, like meta, like, yeah, you think this is foolish. But it's not. Because it's all, I can show you how it's built. And I think when you talk to somebody who knows the bones of the genre, you can really unpack these questions of why are, why is switching the POV during a sex scene for the first time, to a man? Yeah, power move for the heroine and for the writer. And, and why like we've never seen we don't see that usually in books.
Kennedy Ryan 48:43 / #
And I, I think that kind of intention. Now it feels very intentional. And she can pull it off like she has the craft back it up.
Sarah MacLean 48:52 / #
And there aren't many who can pull that kind of shift. Oh, 17 chapters and then you get a new POV.
Kennedy Ryan 49:00 / #
Absolutly and he stays with, he stays with you for the rest of the novel, you know, switching back and forth, but
Sarah MacLean 49:06 / #
I mean, it's real bold itself. You know who else has done that? Um, Kennedy, have you ever read Anne Mallory?
Kennedy Ryan 49:13 / #
Yes. I can't remember which of hers.
Sarah MacLean 49:15 / #
You read the one I'm sure you read the one that I told you read, probably which is the one with the chest scene, huh? Have you read that one, where she sells herself to basically like, he wins her in a in a bet from her father. And then they play chess for 70 pages. But there's another Anne Mallory and I'll find it I don't remember the title but I will find it and put it in shownotes that does a similar thing. I mean, clearly as an homage to this Kinsale but does a similar thing where for the first like third of the book, you don't get the hero. And then you get the hero. And it's really I remember reading that and just being like, wow, this is a bold move like but Anne writes like she doesn't write romance anymore. Unfortunately. She's another writer who every book was different. Like every book took a different risk.
Jennifer Prokop 50:06 / #
A generation of romance isn't like the same as a generation of people. Right? And so, you know, we're not talking like 25 years, and these are all in the same group. I mean, I think a romance generation is maybe like, 10 years, maybe. Or, you know, and and so it's like, "50 Shades" since "50 Shades" seems like a generation, right? Since like, "Bet Me" and like between "Bet Me" and "50 Shades" was another one. And I think that the thing too, is like when we think about how, like narrative choices have changed over time, right, like that was, it would be very hard to imagine someone doing that today. And not, you know, like, when I first joked about not liking it, it's because I was thinking about 2020 Jen, right, not thinking like, Hey, that was three generations of romance ago. And yeah, and the books just read differently.
Sarah MacLean 50:57 / #
I mean, that probably shattered some readers. Imagine I mean, I bet what's interesting too is I bet readers were really frustrated by the idea. When was that book? Do you? Do you know, Kennedy?
Kennedy Ryan 51:08 / #
No. Are you talking about are you
Sarah MacLean 51:10 / #
The Kinsale?
Chapter 17, Kinsale.
It's "Shadow Heart".
Let me see, maybe 10 years between the companion novel, and like the first one, it's like maybe 10 years between them because I want this one won. This one won, The Rita, which was let me see
It's first published in 2004. In 2004, we've never seen we really rarely saw single POV romance novels. Until, you know, no, 2010.
Jennifer Prokop 51:46 / #
No, that's not true. It was just always the heroine, like all of early romance was heroin only.
Kennedy Ryan 51:55 / #
Well, I don't know because "The Wolf and The Dove", is double point of view. It is omniscient. But it's well, it's double point of view.
Sarah MacLean 52:03 / #
You know those heroes are hard to crack. Cuz that's the problem, right?
Kennedy Ryan 52:07 / #
Yeah. Well, and I think when you talk about the hero we talk about and this I think goes back to you asking me about "Queen Move". And what imprints us like of course those first novels because I was blooded with like "The Wolf and The Dove" and "Agetting out Pirates Love" now "Pirates Love" is racy. But I mean, it's like that alpha male, you know, that it imprints on you and it kind of changes over the years but I find myself still enjoying that dominance but now as a grown woman, now as a, you know, fully understanding feminist, that, that, that primalness, that archetype still appeals to me, but it's it has to be filtered through my philosophy, my personal worldview, my personal belief system now. So I find myself grappling as a reader and as a writer with that line where I feel like you've crossed into male toxicity, or you, you know, I find myself you know, examining that line a lot in my work. And when I wrote, I had to be super super, super careful when I wrote "The All the King's Men" duet, the duology because the heroine is Native American and the hero is white. And there is such a harmful history where in romance, that relationship that power dynamic has been appropriated, has been harmful, has been stereotypica, has been demeaning, has stripped native women of dignity has stripped uh, you know, indigenous people of their, you know, the culture. So even when I was the research that went into that was, it was the hardest research I've ever done. It was a it was a lot. I literally was consulting a medicine man for parts of that book to make sure that I got it right and course had indigenous sensitivity and responsive readers from that tribe and from other tribes. So it was a whole thing. But then I had this alpha male, and it was like, how am I going to have this alpha male with this Native American heroine and not perpetuate that? And it was such a delicate balance, you know, it was starting the relationship had to evolve over the two books, even their sexual, she first of all, she had to be an alpha female, you know, she, it had for me to feel like I was striking the right balance. She was an alpha female. So she was very assertive. She was very powerful. There was no dominating her, you know, he I didn't ever do you know what I'm saying?
Sarah MacLean 54:43 / #
Yes, of course,
Kennedy Ryan 54:44 / #
But even you know, how you might say something like is a savage kiss or something like that, that that word couldn't be in the whole book. You know, it's like, oh, no, you can't do that. Okay, you know, so you there's like this even tighter filter, and I found myself really having to restructure, what the alpha male looked like in that in that context, and then when I wrote it is very different cuz he is very dominant. And also I think that he becomes more sexually aggressive as the book goes on because we start to trust him as an individual. Do you know what I'm saying? Not as a caricature, but I think he can be more in the beginning. He's sexually aggressive, but not in the way he is, by the end of the book, by the end of the second book, because readers know him as a person, they get to know him as a person and to trust him with her, and see that she can trust herself with him without him perpetuating what we've seen before.
Jennifer Prokop 55:43 / #
Can I ask you a question? Because this, and this is really to both of you, which is I feel like there's a big conversation that I mean, really, in the past couple years that romance has been having about, like, sort of like the cinnamon roll versus the alpha and Kennedy like, what you're sort of seemed to be explicitly saying is if I'm interested an alpha hero and I'm writing male/female romance then what I need to create to balance that out as an alpha heroine.
Kennedy Ryan 56:07 / #
Um, I'm sure that it can be done. I'm sure that someone could do it without doing that, I think for the particular novel that I was writing, and the particular history that came with that ethnic mix in a relationship, I made that choice. But I mean, when I got to "Queen Move", I made a different choice, you know, where he is more, more of a cinnamon roll hero. And she is very, very powerful. And he is powerful. He's very, you know, very sexual in the bedroom, very sexually aggressive, and she's aggressive and she knows what she wants. She's in charge of her, her sexuality and her power and they have a conversation about their number. And he's like eight because he's been in a committed relationship for a long time and she's like, I have no idea what my number is. He is very secure. She needs that she probably makes more money than he does. Her job is higher profile. She's very, very powerful. And he is an educator, you know, he starts a school for underprivileged kids, a private school. So he's like, your zip code should not dictate your education. And he starts his private school that's, you know, funded. So he's an educator, and she is electing presidents. And he is completely secure, in the fact, that she makes more money than he does. He's completely secure, in the fact, that she's, you know, on CNN, commentating and he's not, and he's exactly what she needs. So, I don't know.
Sarah MacLean 57:43 / #
An arguably what the world needs in 2020. I mean, he's a model, right? Which is interesting because he sort of is a model, in the way, that a lot of these heroes have always been models like you establish the the hero who walks through fire for the heroine, the alpha here who walks through fire for heroin, and is sort of broken down and rebuilt for her in an image of like parody and partnership. That is, that is the hero that needed to be modeled for many, many years. And now we need a different kind of hero to model.
Kennedy Ryan 58:21 / #
in some cases, yeah.
Sarah MacLean 58:23 / #
But Ezra also, like Ezra isn't a cinnamon roll to the in the sense of like, there's not he's not just all soft all the time.
Kennedy Ryan 58:33 / #
No, no definitely not. No, um, he's introverted. He is very self contained. One thing that was very important for me, some people would call him a cinnamon roll hero like in reviews or in conversations, but he is Black and Jewish. So he's a man of color. And one thing that I think we don't see enough with men of color, whether that's, you know, black men, Latin x men Whatever it is, we don't see them so often, as fathers, as nurturers and he is a single dad. And I really wanted to unpack because he's very strong. He's quiet and strong. He's in direct contrast to Maxim, from the first from the duet who was like a mogul, you know, sustainable energy. And he becomes, you know, a place just as huge, charismatic, like bigger than life figure. And of course, we fall in love with him. But then there's this other guy who is so content with his life. You know what I'm saying? He's so on mission, his mission and he's not comparing himself or his life or his choices or his mission to anyone else's, and he has his own strength. So I want him to be as big and readers hearts as that, you know, living in Atlanta, running his school, doling out his son's vitamins every morning and making sure he doesn't drink Cokeyou know. Investing in his son, and seeing his son as his mission, raising a good human as his mission. I want that hero to be as big in readers hearts as this other guy who is this huge mogul of sustainable energy and ends up being president. You know, I want both. I want us I want readers to see the value of both and how both are fitted to these women. You know how they complement these women and they're exactly what this woman needs. And that's also the choice. We as women have to decide what we need, you know, the essence of feminism, your choice. And she chooses Ezra, you know, well, they they're fated. Fated mates. You know they're the same day their soul mate.
Sarah MacLean 1:00:41 / #
Clear Fated Mates to, I mean the one of my it's so early in the book I can sort of, I mean, it's chapter one.
Kennedy Ryan 1:00:49 / #
You can read it on Amazon.
Sarah MacLean 1:00:51 / #
But when I yeah, you can read it on Amazon. One of my favorites, I guess it's not chapter one. Oh, yeah, I know it is. I don't know. It's early. You can read it on Amazon. So the but it's but it's the moment where she sees him. I mean, this is the magnificent thing, right? Like she sees him at her. She's at her father's funeral. The book begins with her at her father's funeral. Yeah, the prologue, in comes this man who is the boy she loved as a child. I mean, there it is, right? My pure ID, right? But it's the boy that she loved as a child and he has his child is there and so is this child's mother, who you are led to believe, is this man's perfect, beautiful wife. And it is so heartbreaking for to watch this heroine who is buttoned up like at her father's funeral like, cannot refuse this reveal kind of really any emotion. And here she is kind of whacked in the head by this boy she hasn't seen in years, who was her first love right? And then whacked in her head in the head again by the fact that he has This beautiful wife who's with him. And, and then, and this beautiful child and this like perfect and her family, as you're reading this, her family is also just in shambles, I mean, destroyed by the loss of this father figure. And so like the compare the, I mean, it's just the moment. I mean, you read that that scene and it's just so perfectly balanced. And it's I mean, it's just amazing. And then of course, you know, they're not like the wife is not really a wife. And so like it sort of unravels the way a romance novel should.
Kennedy Ryan 1:02:39 / #
Yeah, well, and you know, I think one thing that people someone interviewed me last week and they were like, you don't usually have weddings in your books. I you know, because my weddings are hard. They are hard, but I think a lot of and I will often do weddings and bonus epilogues as opposed to the actual like cannon of the novel itself, and I, I like writing books where the wedding is not the point, you know, so often it feels like
Jennifer Prokop 1:03:07 / #
Yeah, the wedding is never the point, right.
Kennedy Ryan 1:03:09 / #
You know, like getting to the altar, you know, is the point and I, I wrote a series called the grip series. And in the third book, it's a trilogy with the same couple across three novels. And you're like, What is she going to do in that third book, you know, because they get together at the end of the second book, and they get married pretty early in the third book. So I like writing books where the point can't just be that they're happily ever you know, that they get together. There's all these other things and the series that I'm working on now, all the couples are married, you know, it's like, so the point can't just be to marry each other. You know, and I think for me, it's so much more about the journey, and what that looks like, than just them kind of getting together.
Sarah MacLean 1:03:55 / #
Don't you feel that partially that marriage the marriage book becomes more approachable for you as a reader as you age. Yeah, I can remember that when I was a kid marriage of convenience was just my least favorite trope. I just didn't care about how hard it was to be married. Or a second chance, right? With a married couple, who cares, right? But now I feel like there are certain writers who just do it so beautifully. And it's such a complex way of telling a love story.
Jennifer Prokop 1:04:27 / #
But I also feel like isn't that the greatest thing about romance is that like, there's so much there that as you age and grow and change in your life, in your relationships, like there's romances for you, this isn't a genre you have to lose. Because you're your life is different, right? It's and it's as Kennedy proved, it's a genre people can come back to and that's the part it's there's so much diversity and richness in the genre. And just like the types of stories that you can find yourself attracted to is.
Sarah MacLean 1:04:57 / #
Yeah, Kennedy can I Ask a craft question?
Kennedy Ryan 1:05:03 / #
Of course, I don't know if I'm a craft woman.But yes go for it.
Sarah MacLean 1:05:06 / #
I want to talk about that I want to go back to Queen mu because so I talked earlier about how there's this epic kind of generational story that's going on in this book. And I don't want to spoil anything about it. But you make a really interesting choice. And, and I thought, as I was reading it, you know, I knew "Daring and the Duke" was coming. And I have just done this sort of generation not generational, but like, long, long time love story, right? Like childhood love. I know, I know, I sort of feel like we should do this as an Instagram Live too, and just talk about this for an hour. But so well, I'm in if you are so anyway, but the question that I have specifically is, so you make a choice, and it's about 25% of the Is it about a quarter of the book, like, you mean, we're children. We're in the past we're in we're in the childhood. It's a lot time. And I mean, it's not I don't say that. I mean, I loved every page of it. But it's interesting because I mean, I, that I really struggled as a writer with making the choice of like, how much am I going to give them of the childhood versus the adult romance and I wonder if you had that struggle to or how you sort of came, but I also feel like your story being kind of multigenerational required that much energy. I don't know if this is a real question, but I feel like I want to talk about the choice the craft choice of giving readers the past for so long.
Kennedy Ryan 1:06:42 / #
Yes, it is about 20% of the book. Oh, you're probably right, roughly about 20. I think it's about six chapters. Yeah. And I think that what helped probably for me as I was writing it, is that it's so weird, you know, because you can do these time jumps and you get completely confuse readers, and I wanted to be clear about what I was doing because the part that you were just describing, which was, you know, at her father's funeral, and this boy that she, you know, was our first kiss her first, arguably her first love shows up 20 years later, they're seeing each other first time. That's the prologue. And it literally says, two years before the present, and you're like what the heck is that.
Sarah MacLean 1:07:26 / #
Well, but I love that.
Kennedy Ryan 1:07:28 / #
It was like this. Okay, Rita, you're in the present. This happened two years ago. So the prologue says two years before the present, and we see them as adults. And we know that there is a certain intimacy between them not there's obviously some kind of pull. That's there. And I think I had I put that there for those readers who don't want to have trouble with the childhood. You know
Sarah MacLean 1:07:56 / #
Yeah, I mean, I think it had to be there. Yeah,
Kennedy Ryan 1:07:59 / #
Like here's the promise.
Sarah MacLean 1:08:00 / #
yeah, yeah, eventually it's these two.
Kennedy Ryan 1:08:03 / #
Yes, it's these two. And the reason I felt like I had to go back and then I think it goes the next the first chapters like 1983. And it's in his mother's point of view. Yeah.
Sarah MacLean 1:08:14 / #
It's really cool.
Kennedy Ryan 1:08:17 / #
It's not even in one of their points of view. It's in his view
Sarah MacLean 1:08:21 / #
Babies, their babies. their literal babies.
Kennedy Ryan 1:08:23 / #
Infants in a bathtub. And, you know, she's orienting us, and it's 1983. And it's Georgia. And she's a Jewish woman who has married a black man in 1983, living in Atlanta, because her husband is on scholarship, you know, at Emory for law school. And she has left her her, her community of faith back in New York, very tight knit community that wasn't sure how they felt about her marrying someone, not even someone who was black, but someone who wasn't Jewish. And so she has had she's had tension with her family, but That's repaired. And she's navigating this whole new she feels she says she basically feels alone in the state, you know, in the whole state, when she goes out with her son people, you know, ask is that your son, you know, these are things that are real experiences. And I was fortunate enough to find people who are actually black and Jewish people who have actually negotiated the duality of those identities. And I definitely did not want to write a tragic mulatto story. You know, I didn't want to do that. And I did not go there. But just showing some of the real difficulty that a family living in that context would be navigating. But just as context, and we get and it begins the friendship because there's a couple of things. One of them is found family, their families live next door to each other and they become their families become close. And that was one of the things I really wanted to build in those childhood chapters. There was this foundation for that what becomes their relationship I want people to see from the beginning, the closeness that is kind of the foundation for everything. So we don't just go like it kind of skips fast, like, Yes, they're babies in chapter one, but we get to chapter two, they're 10 years old, you know, in the chapter three, they're 12 and then chapter four and five and six, they're like, 13 they're in the eighth grade. So it accelerates it starts when they're babies within an accelerates but all of these kind of key moments of childhood and adolescence or think she stutters, you know, when he's there for her and then she has her you know, I'll just say that she has he rcycle, you know, all every girl has had that thing of, oh my god, you know, you ruin a pair of pants and you know, and I was like, and people see it and he's protective of her and wrapping his coat around her waist. And you know, it's like all of a sudden they have their you know, their you know, dance right before they're going to high school and, you know, she's with this, you know, this not great guy who wants to be her first kiss. And she's you know, it's just all this stuff you know the all of the adolescent angst before you're in high school, all of that stuff and they're there for each other.
Sarah MacLean 1:11:10 / #
Well, thats what makes when Ezra leaves. Yeah, when Ezra's parents divorce and his mother takes her, takes him back to New York to her family,
Kennedy Ryan 1:11:21 / #
They don't divorce but or they don't divorce but something happens between the two families that explodes the friendship between those two families and they end up moving away
Sarah MacLean 1:11:30 / #
Ezra's family ends up leaving Georgia and going back to New York and it make the rift between the the end of that sort of intense childhood friendships so emotional and so amazing. And I think it's just such an interesting choice because I have done I've done a few of these childhood or young love to older, more seasoned love stories, and I think I always struggle with time. You know how much time to spend where and I just thought it was such a very important and like really cool choice to just lean into the past. I was brought I was reminded of Lisa Kleypas and "Again the Magic".
Kennedy Ryan 1:12:20 / #
I don't even talk about, "Again the Magic".
Sarah MacLean 1:12:27 / #
Where these two are just so intensely in so like for each other, and it's so clear that they're just that their Fated Mates. And then it breaks. And it it's, it breaks the reader's heart to I mean, it's just, it's really, I mean, you know, I love this book, and I just,
Kennedy Ryan 1:12:48 / #
I love books that do that. Have you not like obscure historical romance. So, you know, who nobody ever talks about, and I think it's because she has some tax troubles and not
Sarah MacLean 1:12:58 / #
Are you gonna say Megan McKinney?
Kennedy Ryan 1:13:07 / #
How did you know that?
Sarah MacLean 1:13:09 / #
Meghan McKinney is a real problematic person.
Is she? But I just knew that she kind of disappeared.
Boy she blooded me too. Yeah.
Kennedy Ryan 1:13:19 / #
She has a book called I think "When Angels Fall" and it's that it's the same thing where he works in her parents stables and their nobility and he is a stable man but he's somebody bastard. Yeah always somebodies bastard. And he ends up becoming like the Earl and then her family is destitute. And it's this whole intense, revenge. He thinks it's revenge. But of course, he's just obsessed with her.
Sarah MacLean 1:13:47 / #
Revenge is the best and worst motivation.
Kennedy Ryan 1:13:51 / #
Yes. So have you so have you read we the ground, "The Ground She Walks Upon", I think that's what it is by Mehgan Mckinny?
Sarah MacLean 1:14:00 / #
I mean i'm sure i that is not one I've read everything Meghan McKinney has written. But I mean we should say you can look this up on Wikipedia it's not a secret but she she lived in New Orleans and after Katrina she perpetuated a very large tax scheme of fraud and she went to prison, so I mean if Wikipedia is to believed that is what happened to Mehgan Mckinney.
Jennifer Prokop 1:14:29 / #
Well, I think there's some documented evidence.
Sarah MacLean 1:14:31 / #
There's some there citations.
Jennifer Prokop 1:14:35 / #
Hey, I before we wrap up, though, I actually have a
Sarah MacLean 1:14:38 / #
Jen's like, ladies.
Jennifer Prokop 1:14:41 / #
Like, let me save you from yourself. No, loving the Mehgan McKinney. Um, here's my question. Kennedy, your love for historical romance is so intense. Have you ever thought about writing one?
Kennedy Ryan 1:14:59 / #
Oh, gosh. so intimidated. I mean, I'm so I'm really intimidated by, I mean, my books are research heavy, but they're not like that type of research and I have thought about it. I honestly have. But I just get so scared. I get so intimidated by it. I don't know why.
Jennifer Prokop 1:15:21 / #
Well, it sounds like you do a lot of people research. Everything I've ever heard about you is how much you like talking to people. And I guess yeah, I can't, you know, dig out somebody from 1820 or whatever.
Kennedy Ryan 1:15:34 / #
Well, I mean, I have usually like, especially with a lot of it is and I think it's maybe my journalism background and all the interviews I always had to do, but it's something I lean into is people who have actually lived things that mirror you know what my characters are doing. So a lot of interviews, lots of conversations, but also lots of reading. I read, read lots of memoirs.
Gosh, for all the king's men. I was literally reading anthropological textbooks. I mean, it was just, it was really intense, but I wanted to get it right. So I think I have, I think I have the tools that I could, if I can just get over. First of all, it had to be something that compelled me, because I don't really write unless I feel compelled. And I know that sounds artsy fartsy. But I have to feel compelled by whatever that thing is at the core. And it's usually something that is happening. For me a lot of times something that's happening in the real world that I want to shine light on in the context of an epic love story. So those are the things that kind of get my wheels turning. But if I could find something like that, that is in a different era, it probably would be I don't know when it would be it might be in the 20s or it might be you know, it might be something like that probably is because I have I love a marriage of art and activism and a lot of what I write, and I would
Sarah MacLean 1:17:03 / #
Well Jazz Age New York, man.
Jennifer Prokop 1:17:06 / #
Harlem Renaissance I mean, there's so many Yeah, totally.
Kennedy Ryan 1:17:09 / #
Thats what I keep thinking about so I feel if I did venture into it'll probably be around there. There's a you know, because that's also you know, the explosion of literature and culture and just all the things that you know, that were amazing about that period. So
Sarah MacLean 1:17:29 / #
Well, I'll read whatever you write forever. So, Kennedy, thank you so much. Well, you come on again. This was so fun.
Kennedy Ryan 1:17:39 / #
Oh my gosh. This was so fun.
Jennifer Prokop 1:17:42 / #
It was amazing.
Kennedy Ryan 1:17:42 / #
Thank you guys for having me. I'm such a fan and I was so nervous coming on you guys.
Jennifer Prokop 1:17:49 / #
Well it was so fun.
Kennedy Ryan 1:17:51 / #
I was like, they're so smart. I'm not even gonna know anything.
Jennifer Prokop 1:17:54 / #
No, you were great. You knew all about Prince's many proteges, I was going to say backup singers and I was like that's not the word.
Kennedy Ryan 1:18:05 / #
If no one else wants to be Eric, is it Eric?
Sarah MacLean 1:18:09 / #
That's it you're his new favorite.
Thank you so much, everyone. This is our second to last episode of the season. Jen, tell everyone what they won next week. So I guess I talked about it already.
Jennifer Prokop 1:18:25 / #
Steve Ammidown from the Bowling Green Pop Culture Library is going to be here and we are going to go back and revisit. I'm actually super excited about this. We each read some of the books that were originally acquired by Vivian Stevens. And so we will be talking about some of those early historicals I'm sorry, early contemporaries in that essentially, in in, in series that she like founded and put into place and what those books were doing so we think it's gonna be a really cool episode, and we're gonna all enjoy.
Sarah MacLean 1:18:56 / #
For those of you who've been sort of, you know, curious, whenever we talked about Vietnam, there's a lot of discussion of Vietnam and next week, so, um, you know, get ready for that. And then we're taking some weeks off, but there will be new episodes or at least new content every week. While we are off, but we are back the first week of August with season three. And we are we have a plan. A plan now we have a plan but this is Fated Mates. You can find transcripts for many of our episodes, all the music that's in all the episodes merch and other cool stuff at Fated Mates.net I have a book out came out last week. You can listen you can find "Daring in the Duke" in bookstores, wherever books are sold and listen to last week's episode once you've read "Daring in the Duke" and there's lots of spoilers in there. But most importantly, Kennedy Ryan was with us this week. Her recent book is "Queen Move". It is really truly magnificent. One of the best reads of my You're so far, surely it will be one of the best reads of my year period. Kennedy, where can people find you?
Kennedy Ryan 1:20:07 / #
I'm on Instagram a lot at Kennedy Ryan one and I'm on Twitter and I have a website, you know, all the places, even if you just go to my Instagram and click the link, it takes you all to all the places.
Sarah MacLean 1:20:23 / #
So find Kennedy in all those places and read her books and have a great, have a great couple of weeks.
Unknown Speaker 1:20:35 / #
Hi, my name is Danielle. I am in California and I am a community college teacher. I teach us history. And the book book that blooded me was Jennifer Wilde "Loves Tendered Fury", which now I know is written by a man, that I stole it off my mother was bookcase and read it and then she was like oh, maybe this isn't a good thing for you to read because as you know its a little rapey and then I plowed through like Barbara Cartland and my grandmother's Harlequin series. And eventually I went to graduate school and my grad school friend introduced me to Loretta Chase. And so I'm a big fan of "Lord of Scoundrels". I love your podcast. I love romance novels. They're getting me through the Coronavirus and Trump's presidency. And please don't stop your podcast because I love it. Thanks bye.
S02.21: Old School Category Romance
This one is a RIDE, you guys! We wanted to do something really fun this week—something that would lighten the mood for us and for you. So, strap in, because we’re talking about our favorite Old School Category romances today! We’ve got something for everyone — wolves and dragons and marine biologists and single moms and more wolves!
A word of caution this week — we didn’t reread these books before we recorded, and they’re all published in the 80s and 90s, so tread lightly if you decide to read them…and let us know just how wrong we got the plots! (Just kidding, we’re for sure rereading all of them now).
Next week was supposed to be the deep dive of Lorraine Heath, but Sarah has a book due, so we’re putting it on hold—but stay tuned, because we’ve definitely got something coming! Waking Up With the Duke will definitely be the next read, though: Get it at Amazon, Barnes & Noble, Apple Books, or Kobo.
Show Notes
If you're looking for a real cool summer sleepaway camp, check out Camp Kupugani. They'll pick your kid up at O'Hare!
You can order girl scout cookies online now. Good luck to all of us.
If you're in Chicago, I guess you could go to Navy Pier; But if you're in Peru, you should definitely go to Machu Picchu.
That American Dirt story is real wild. This review by Myriam Gurba is amazing, and Vox has you covered with an entire explainer. Remezcla has better recommendations for books about the border.
If you want to know what makes something a category romance, Love in Panels has a very good explainer. Also, if you're interested in Harlequin covers now, Jen interviewed Tony Horvath for Kirkus. He's the creative director in charge of all of Harlequin series romance. You can also check out Kelly Faircloth's Instagram, where she posts pictures of her favorite old school romance covers.
Buying old category romances is easy. Check out ThriftBooks for the best prices and best shipping (Amazon charges for individual items from sellers), but also Better World Books. And if you're lucky enough, local thrift stores and used book stores. For more recent remaindered books, try Book Outlet.
We mentioned so many category series today. Check out this blog by Steve Imes with all the category series names and dates, and FictionDB for listings of books by series.
Sandra Brown wrote as Erin St. Claire and also Rachel Ryan. She was an 80s powerhouse who still writes romantic suspense. The book Sarah mentioned was Honor Bound, but Jen was thinking of a similar book called Hawk O'Toole's Hostage. Ope.
Jen reread and reviewed several of her first category romances for the Book Queen. The one about Pink Satin compares the book to the Harvey Weinstein case. It's honestly shocking how little has changed for women in the workplace.
White Satin was an early Iris Johansen about figure skating, but that author is also for being the book that inspired the "Who Did it Better on a Horse" post. And at the end of the episode, Sarah mentions that she had a house for sale if you're on the market, BECAUSE IT'S REALLY A MANSION.
Brad Pitt is old and still working because of the patriarchy.
Deep Tracks is the name of an XM radio station that plays B sides and less popular songs, which is very on brand for the books in this episode.
Maybe you'd like to read those goodreads reviews for The Lady and the Dragon. And here is the obituary for the author, Regan Forest.
Jen loved Barbara Boswell. She was a fan of the Brady/Ramsey series where a bunch of sisters married a bunch of brothers. And then this one that is Brady Bunch fanfic. Eight is enough, I swear! Was this all Roe v. Wade blowback?
You actually can still get Harlequin subscriptions, but the best current Romance subscription is definitely the Bawdy Bookworms box.
In Demon Lover, the heroine thinks the hero is a coyote, but he's really an undercover DEA agent. Jen asked the Smart Bitches to help her find it in 2018, when it was available as an eBook, but it isn't anymore! All you need to know is that these 80s covers celebrated the Tom Selleck mustache in a big way.
Warrior was last in the McKenzie-Blackthorn series by Elizabeth Lowell. Light a candle for Utah, who never got his book. Ao3 needs to get on it! #JusticeForUtah
Virginity is a construct! Also, here's where the hymen is in case you need to know.
Sarah's on deadline, so who knows what's going to happen next week. Buy some stickers, buttons, or t-shirts to tide yourself over while we figure it out.
Please check out the photo array below for books we referenced. You may remember that we recorded an entire episode on category romances with Andie Christopher, but Jen screwed up the recording. By then, we moved on with Andie to cinnamon rolls. But Andie recommended Driven by Fate by Tessa Bailey, and Jen talked about Every Road to You by Phyllis Bourne. Sarah proably talked about Hot Touch, but Jen can't really remember...we'll just think of that episode as the one that got away.
12: Do Not Let the Lykae into the Yankee Candle Store: MacRieve
MacRieve is here and so is friend of the pod, Sierra Simone! We’re so excited to talk about The Full Kresley, what makes erotic romance, The Simone Scale™ of taboo romance, why MacRieve is so tough to read, why Sarah thinks it might be Kresley’s best book, and why Chloe is such a badass. There’s a lot of hysterical laughter, and Sarah is preparing for legal action.
Don’t forget to subscribe to the podcast in your favorite podcasting platform — and while you’re there, please leave us a like or a review.
In two weeks, we’re starting Kresley’s contemporary series The Game Makers (we’re reading the books in original publication order) with The Professional. Get ready for Wroth Brother fanfic that Kresley herself refers to as “way sexier” then IAD. Get The Professional at Amazon, B&N, Apple Books, Kobo, or from your local Indie.
Show Notes
The NECRWA conference always sounds so great!
I don't even know where to start with Andie Christopher and her Chris Evans obssession.
Avengers Endgame, that ol' chesnut.
We stan Sierra Simone, and we love The Sierra Simone Scale™. Check out her two latest, Misadventures of a Curvy Girl and A Lesson in Thorns.
Debbie Macomber is a queen of small town contemporary romance.
You can't stop me, you can only hope to contain me is a play on a very catchy ESPN phrase from back in the day.
Adriana Herrera wrote about how to ethically write about sexual trauma for Smart Bitches. She also joined us to talk about Food Romances & her most recent release.
Adriana Anders' Under Her Skin explores a story of a woman's traumatic past, as does Long Shot by Kennedy Ryan.
Suzanne from Love In Panels wrote a great explainer about content warnings and why we use them.
This is a powerful critique of sexual violence in Game of Thrones.
Just last year, two books about women and anger were published: Rage Becomes Her by Soraya Chemaly and Good and Mad by Rebecca Traister.
More about emotional dysregulation.
The Black Lyon by Jude Deveraux is an old school classic.
Dick flu is definitely some BDE.
You'd be surprised about how much writer's advice you can find about the evils of the info dump.
There's an entire subreddit dedicated to ranting about Comcast.
Yankee Candle will eff a werewolf up.
You can listen to Kresley on the Wicked Wallflowers podcast.
The story of Sir Walter Raleigh throwing down his cape for Queen Elizabeth to walk over is not historically accurate, but it still makes for a great scene in Shakespeare in Love.
The Fifth Element is a completely rewatchable movie.
All about the Mothman, who, it bears pointing out, Lothaire says exists.
Here's the beginning of Sarah's stalking of Sierra after reading (and loving) Priest.
Next time, we're going off road and have decided we'll be reading the first book in The Game Makers series, The Professional. Here's the reading order for the rest of Fated Mates Season One.
Lost Limb Count
Arms and Hands (8)
- Conrad cuts off his own hand with a rusty axe so he escape the "witched" chains his brothers locked him in. (Dark Needs at Night's Edge)
- Cadeon has both of his hands burned off in the same scene where he loses an eye. There's description of what Cade's baby fingers look like as they are re-growing. It's...kinda gross. (Dark Desires After Dusk)
- Sebastian pulverizes most of his right arm during the Hie. He regenerates. (No Rest For the Wicked)
- Lucia peels all the skin off from her hand in order to free herself from some handcuffs. (Pleasure of a Dark Prince)
- In order to retrieve the ring from La Dorada , Lothaire cuts off her finger. (Pleasure of a Dark Prince)
- Lanthe and Carrow cut off Fegley's hand so they can use his thumb to unlock their torques. He's later killed. (Demon from the Dark)
- After receiving Lothaire's heart in a box, Ellie cuts off her middle finger and sends it to him. (Lothaire)
- Chloe's shoulder is dislocated in the escape from her auction (MacRieve).
Chest and Torso (7)
- Omort severs Rydstrom's spine and punches through his torso in a fight. Sabine saves him and enlists Hag to help heal him. (Kiss of a Demon King)
- Lucia's neck is broken. She regenerates. (Pleasure of a Dark Prince)
- On Torture Island, Regin,
- MacRieve,
- and Brandr are vivisected. It's pretty terrible. (Dreams of a Dark Warrior)
- Declan's skin is peeled off by the Neoptera as a child. (Dreams of a Dark Warrior)
- Lothaire rips out his own heart and sends it to Ellie in a box. (Lothaire)
Head, Face, and Eyes (6)
- Bowen loses an eye and most of his forehead during the Hie. Mariketa has cursed him and he can't heal until he returns to her. (Wicked Deeds on a Winter's Night)
- Cadeon loses an eye and part of his forehead and hair when fighting. It all regenerates. (Dark Desires After Dusk)
- During a rugby match, Garreth has his teeth knocked out and swallows them. (Pleasure of a Dark Prince)
- Lothaire kicks out La Dorada's remaining eye and throws her over a cliff. (Dreams of a Dark Warrior)
- In the Bloodroot Forest, the tree grows over Lothaire's lips and tongue. (Lothaire)
- After she gains her immortality, Chloe's hair grows, but she cuts it off every morning. (MacRieve)
Horns (2)
- Cadeon cuts off his own horns to prove to Holly that he is worthy of being her mate. She tells him to let them grow back (Dark Desires After Dusk)
- Malkolm is captured by his enemies in Oblivion and taken to the city of Ash. The publicly cut off his horns and then intend to kill him, but Carrow saves him. (Demon from the Dark)
Legs and Feet (3)
- Lachlain tears off his own leg to reach Emma. He regenerates. (A Hunger Like No Other)
- Mariketa's skull is fractured and her leg is torn from her body. She heals herself after Bowen lays on the ground. Ivy grows over her and heals her. (Wicked Deeds on a Winter's Night)
- Thronos is chasing Melananthe and loses a foot when a portal closes on it. (Kiss of a Demon King)
Beheading as a Romantic Gesture (4)
- The first time Garreth spies Lucia, it's when she shoots an arrow and beheads a kobold. He notices that it's "a fantastical shot" and he's super into it. Later, he helps her pick up the head because he's a real gentleman like that. (Pleasure of a Dark Prince)
- Later in the book, they are under attack from vampires and Lucia asks him to help. Garreth promises to "give her their throats" and beheads two vampires. But she's upset about it because of a previous bad experience with cannibalism. (Pleasure of a Dark Prince)
- Malkolm beheads men that attacked Carrow in Oblvion, and he throws them to prove he's a worthy mate. (Demon from the Dark)
- Declan fights and beheads several creatures as they escape Torture Island, including squeezing one dude so hard his eyes pop out and then he twists his head off. (Dreams of a Dark Warrior)
Beheading as a Non-Romantic Gesture
- Ellie cuts off Lothaire's head, leaving a slender 1/8 of an inch left. It was kind of an accident, but he deserved it. (Lothaire)
Maybe?
- Does Garreth's losing his connection with his mortal soul count? (Pleasure of a Dark Prince)
- When Soroya inhabited Ellie's body, she subjected her to a full Brazilian wax. Ellie doesn't realize it's happened until she takes control of her body again. (Lothaire)
6: Reclaiming the Unlikeable Heroine: Kiss of a Demon King
One of the best loved books in the IAD universe, this week we’re talking about Kiss of A Demon King, the completion of the Demonarchy Duology, starring Rydstrom, the deposed King of Rothkalina, and his fated mate, Sabine, the Queen of Illusions, which is an incredibly handy power.
We’ve got a fabulous guest host this week, Jenny Nordbak from our sister romance podcast, The Wicked Wallflowers Club. Jenny is ride-or-die for Sabine, and she’s got a fabulous personal story about her relationship with the book that we’re thrilled to share with you.
This episode, we’re talking traumatic pasts, horns (I mean, obviously), villains, the unlikeable heroine (a whole lot), and we’ll come back around to Cade & Holly and tackle the unfinished business from their book!
Don’t forget to subscribe to the podcast in your favorite podcasting platform — and while you’re there, please leave us a like or a review.
Novellas are up next! We told you we’d get to the rest of the Wroth Brothers eventually, and eventually is here! Our next read-along episode will tackle both novellas, The Warlord Wants Forever (Nikolai) & Untouchable (Murdoch), available in the Deep Kiss of Winter anthology! This will be the last time we tackle vampires until Lothaire, so get your fill!
A Note: There are two version of The Warlord Wants Forever — you want the most recent version.
Show Notes
Our special guest this week is Jenny Nordbak, author of the memoir, The Scarlett Letters: My Secret Year of Men in an LA Dungeon and co-host of the Wicked Wallflowers Club Podcast.
All about the freudian slip.
Here is Wendy's blog post about the righted world, along with a twitter thread that Jennifer Porter wrote that eloquently talks about the importance of this idea. Teach Me Tonight jumped in with a look at how this same phenomenon plays out in academia.
Jen's friend Liz, the Latin teacher!, loved this book for the sheer number of classical allusions. Here's a report of some of her mort specific findings:
"mors, mortis" means death in Latin, so O-mort means "without death" or "in the way of death."
The Ourbouros is an ancient symbol that shows up in Egyptian traditions.
Finally, the invaders that Omort led into Tornin--the Invidia, Libitinae, and Undines--are also Latin allusions, and they're really evil in the classical world. (Invidia--this Latin word means jealousy and personified envy. Undines-- Latin word for female spirits that inhabit the water. Libitinae--has several meanings: the goddess of corpses (in her temple were kept the funeral apparatus and registries of death), the apparatus of funerals, or death itself.)
Jen's interview with Adriana about Domestic Violence in romance.
The name Sabine might be a reference to Rome's neighbors, the Sabines. The story of the abduction of the Sabine women has been told in art over and over again. It's intersting to consider why this name was used: perhaps to reclaim a story where sex was a weapon used against women?
Melanthe means "dark flower" in Latin, and she was a minor character in the Odyssey.
Gone with the Wind has a very problematic portrayal of the happy slave and the good master. House elves aren't much better.
The Wicked Wallflower's IAD Spreadsheet of Wonder.
All the horn photos are on Instagram.
The Babysitter's Club Summer Special, and all the other amazing goodness of the Scholastic Book Club. And in case you didn't know, the Scholastic Book Club & its Book Fairs are still a thing.
Jenny's book is called The Scarlett Letters: My Secret Year of Men in an LA Dungeon.
That Mr. Too Big (not to be confused with Mr. Big) Sex in the City episode.
The Arcana Chronicles is a YA series by Kresley.
Why yes, both Sarah and Jen have been on the Wicked Wallflowers podcast. When you're done listening to this episode of Fated Mates, head over to listen, and don't forget their interview with Kresley Cole & Gena Showalter!
The Warlord Wants Forever & Untouchable (in the Deep Kiss of Winter anthology) are coming up next.
Lost Limb Count
Arms and Hands (3)
- Conrad cuts off his own hand with a rusty axe so he escape the "witched" chains his brothers locked him in. (Dark Needs at Night's Edge)
- Cadeon has both of his hands burned off in the same scene where he loses an eye. There's description of what Cade's baby fingers look like as they are re-growing. It's...kinda gross. (Dark Desires After Dusk)
- Sebastian pulverizes most of his right arm during the Hie. He regenerates. (No Rest For the Wicked)
Chest and Torso (1)
- Omort severs Rydstrom's spine and punches through his torso in a fight. Sabine saves him and enlists Hag to help heal him. (Kiss of a Demon King)
Face and Eyes (2)
- Bowen loses an eye and most of his forehead during the Hie. Mariketa has cursed him and he can't heal until he returns to her. (Wicked Deeds on a Winter's Night)
- Cadeon loses an eye and part of his forehead and hair when fighting. It all regenerates. (Dark Desires After Dusk)
Legs and Feet (3)
- Lachlain tears off his own leg to reach Emma. He regenerates. (A Hunger Like No Other)
- Mariketa's skull is fractured and her leg is torn from her body. She heals herself after Bowen lays on the ground. Ivy grows over her and heals her. (Wicked Deeds on a Winter's Night)
- Thronos is chasing Melananthe and loses a foot when a portal closes on it. (Kiss of a Demon King)
4: A+, Would Risk Haunting: Dark Needs at Night's Edge
Book 4 is here and so are ghosts! We’re talking Dark Needs at Night's Edge, starring Conrad (the most tortured of the Wroth vampire brothers) and Néomi (the ghost trapped in the house where he’s held hostage while he dries out). We’ll cover heroines with agency, menstrual cycles, virgin heroes and the importance of family. Also, Jen is on about the moon again.
Don’t forget to subscribe to the podcast in your favorite podcasting platform — and while you’re there, please leave us a like or a review.
Our next read (in two weeks) will be Dark Desires After Dusk — the beginning of the Rage-Demonarchy duology, featuring Cadeon Woede, who is forced to choose between familial loyalty and his human (or is she?!) fated mate, brilliant mathematician, Holly.
Get ready for the read along at Amazon, Barnes & Noble, Apple Books or your local indie. Also, the Audible versions of IAD are on sale right now -- and WORTH EVERY PENNY! Listen on Audio!
Show Notes
- Ghosts are a human problem and preoccupation.
- According to the Washington Post, "nearly half of the women who were murdered during the past decade were killed by a current or former intimate partner." Huge content warnings for everything in this article.
- The Flame and the Flower, Shanna, and some of Sarah's thoughts about rape in romance.
- We talk about Id a lot on Fated Mates, and we use it as a shorthand for our most primal, deep-rooted desires.
- "All happy families resemble one another; each unhappy family is unhappy in its own way" is the famous first line of Anna Karenina. This New York Times article about the many Tolstoy translations is fascinating.
- Kresley Cole isn't the only one to use the menstrual cycle as a symbol; but others wonder why menstruation is almost always absent from fiction.
- A crescent moon (or "sliver moon" as Neomi calls it) is never up at midnight. Literally never.
- Jen rants a lot about first person narration a lot on Twitter, but it's super OTT, so just read this thread about first person narration that was started by Rebekah Weatherspoon.
- Shortly after they recoreded this episode, Jonathan Franzen stanned for third person narration and Jen realized she's just a handmaiden to the patriarchy.
- Jen strongly recommends Heavy: An American Memoir by Kiese Laymon. She saw Kiese Laymon being interviewed by Lolly Bowean at the Chicago Humanities Festival, and it was amazing.
- All people deserve birth control that's right for them.
- Some romance readers love breaking in the ponies with a virgin hero.
- Arguably, agency is the most important character trait.
- There are 45 cemetaries in New Orleans, 31 are historic, and 5 are listed in the National Register of Historic Places.
- If you're planning to write a sitcom, know the formula.
- In IAD, it's Thrane's Key; it Harry Potter, it's a time turner.
- Get yourself some IAD ringtones.
- Holly Ashwin and Cadeon Woede are up next in Dark Desires After Dusk.
Lost Limb Count
Legs (2)
- Lachlain tears off his own leg to reach Emma. He regenerates. (A Hunger Like No Other)
- Mariketa's skull is fractured and her leg is torn from her body. She heals herself after Bowen lays on the ground. Ivy grows over her and heals her. (Wicked Deeds on a Winter's Night)
Arms (1)
Sebastian pulverizes most of his right arm during the Hie. He regenerates. (No Rest For the Wicked) ** Eyes (1)**
Bowen loses an eye and most of his forehead during the Hie. Mariketa has cursed him and he can't heal until he returns to her. (Wicked Deeds on a Winter's Night)
Hands (1)
- Conrad cuts off his own hand with a rusty axe so he escape the "witched" chains his brothers locked him in. (Dark Needs at Night's Edge)