Sunday, April 6, 2014

My Writing Process

Anna Belfrage tagged me for this blog hop about my writing process.

Anna is the author of the Graham Saga, a time travel about modern-day Alexandra who slips through time to 1658 Scotland, where she meets Matthew Graham. The story is now five novels long with more to come. Visit Anna on her blog here:

There are four questions for me to answer:

1. What are you working on?

I write mainly sweet Regency romances with comedy, and sometimes add paranormal, fantasy and science fiction. My current project is straight historical, the third book of my Love and the Library series, wherein four gentlemen meet their matches over a copy of Pride and Prejudice at the library.

2. How does your work differ from others in the genre?

Most Regencies are Cinderella stories: filthy rich, powerful, gorgeous noblemen, beautiful, if generally poor ladies who are nice and nothing more, and opulent houses, clothes and jewels. I call these “Georgians in disguise” because they hark back to the 18th century when noblemen ruled the roost. But the Regency was the start of our modern world, when what people did became more important than their parentage. I like the era because it’s far enough in the past for some fantasy, but not too far back to be unrecognizable.

Although my leads are all gentry, most of my heroes are younger sons who have to work for a living. My heroines are also usually poor: widows or ladies with small dowries who also must work. My heroes can be mathematicians, bankers, teachers and tutors. My heroines can be botanists, teachers, companions, ladies interested in finance, and mathematicians. While I can have filthy rich noblemen in my stories, they realize the world is changing, and they change along with it.

3. Why do you write what you do?

I like comedy, Regency, happy endings, astronomy and birds, mainly ducks. So, I write comedy Regency romances, and I often put birds and astronomy into the stories.

There can be birds all over the place, as in An Inheritance for the Birds. The “birds” in the title are mallard ducks, fourteen of them with names like Felizarda, Obadiah (the star) and Busick. A cranky goose is a main character in my Halloween story, Pumpkinnapper. And there are ducks in all of my Love and the Library books. If you want a really cranky goose, wait until you see the Christmas story I’m going to put out in the fall.

Astronomy and science fiction figure in my time travel, Lady of the Stars. The twenty-first century heroine is an astronomer, and the hero is a mathematician interested in astronomy. For more science fiction, I have A Gift from the Stars. Both hero and heroine are interested in astronomy, and the heroine finds a miraculous stone a man who landed in a spaceship left behind.

There’s fantasy in my Christmas story, Mistletoe Everywhere, and Gifts Gone Astray is my how-to-write-sex-without-writing-sex story. :)

4. How does your writing process work?

I’m a pantser, which means I don’t plot, per se. The more polite term is organic writer because the story grows as I go along. I start with an idea, and let it take me where it will. I have to change things and move sections around a lot, but, somehow, everything gets together in the end.

I write and I rewrite and then I rewrite some more. I like to rewrite. I find it amazing how much better a sentence can become when I rewrite it. And when I’m all done, I go through and vary the words I use most often because repeated words can wear on you after a while. So, for “face” I will alternate with “visage”, “aspect” and “countenance”. I doubt anyone notices, but that’s part of what I do. Then I go through the spell checker and send the story off for editing. I let the book rest for a week or two, and reread it and rewrite some more. Even a short break lets me see things I didn't notice before. Also, reading the story from the beginning brings up things that don’t fit or that I repeated. Then the spell checker again, a final read to catch the typos the spell checker missed, and then I format.

To give you some idea of how much I rewrite, I number the versions as I go along. The story starts with version 1. Whenever I make significant changes, writing new material or rewriting, I increment the number. As an example, A Gift from the Stars, 71,000 words, had 207 versions before I called it done.

On to the New

Lindsay Townsend
Lindsey writes across a large range of romance, from contemporaries to historicals to mysteries to thrillers. Her main focus now is medieval romance. Great minds must think alike, because her characters, like mine, are usually ordinary people. Her stories put them in extraordinary circumstances, which brings out their latent heroism. Her latest book is the medieval, Bride for a Champion, and she’s now working on the sequel to another medieval romance, Mistress Angel. I’ve read the new story in ARC, and if you liked Mistress Angel, you’ll love this one. See her post here:

Thank you all,

The picture is a page from The Canterbury Tales from Wikipedia

Sunday, March 2, 2014

The Regency Man and Marriage: Fact and Fiction

Consider these images:

#1 A bare-chested male sex machine with a beautiful woman draped over him.

#2 A soberly dressed man with his wife on his arm and with them, five or six healthy, well-dressed children.

Which image was the ideal of the Georgian and Regency male?

If you picked #2, you are correct.

#1 is an anachronism, today's popular image of the marriage-phobic male who dreads relinquishing his life of hedonistic pleasure for the so-called strangling bonds of matrimony.

#2 is the Georgian and Regency ideal of manhood--a man with proven fertility and who is also a good provider.

In Georgian and Regency England, everyone had a place, and that place was marriage.

Bachelorhood was the undesirable limbo a man must endure before he wed. Life for a bachelor consisted of work and a social life mainly with other bachelors. They worked together, lived together, and filled the coffee houses and chop houses.

At first, the bachelor might enjoy the freedom from parental control. But a single man had a lower status than his married brethren, and in time, the exclusive company of men palled. Men longed for adult feminine company. How did bachelors find marriageable women? With great difficulty. If they were lucky, their families and married friends offered access to single women, since the women stayed at home.

Besides enhanced status, a secure place in society, and most importantly, the ultimate proof of his manhood, marriage conferred practical benefits on a bachelor, and I'm not just talking about available sex.

Marriage has always had an economic component. All men, even wealthy men, worked, leaving them less time for the day-to-day necessities of life. They needed to eat, live somewhere and have their living quarters and clothes cleaned. In the 18th and 19th centuries, food preparation, laundry and cleaning were expensive and time-consuming. Since most men couldn't afford servants, they had to pay for these services. In the division of labor of the time, a wife would perform these tasks while she also warmed her husband's bed and cared for his children.

Yes, there were unhappy marriages as well as happy ones, but the promise of happiness plus the other benefits outweighed the possibility of misery in the minds of most men.

A good book with a whole chapter on this subject is Behind Closed Doors: At Home in Georgian England by Amanda Vickery. This book also includes the Regency.

So, the next time you encounter one of those high-born Regency rakes who disdain marriage, remember his realistic counterpart--the man who yearned to wed.

Thank you all,

Book cover: The Seduction by Nicole Jordan
Painting: The Baillie Family (c. 1784) by Thomas Gainesborough

Sunday, February 9, 2014

Cross-Quarter Days

This post is the second in two posts about Quarter Days and Cross-Quarter Days. The first post, Quarter Days, is here.

Just as the Quarter Days mark the beginning of the seasons in England, the Cross-Quarter Days mark the midpoints of the seasons.

The four cross-quarter days are:

Candlemas (Imbolc) February 1
May Day (Beltane)1 May
Lammas (Lughnasaid )August 1
All Hallows (1 November) or Samhain (October 31)

Notice the two names. The first names are the Christian names, which in time were layered over the older (second) Celtic names.

The Church gave Candlemas its name for the candles lit in the churches to commemorate the presentation of the Christ Child at the temple in Jerusalem. The Celtic name of Imbolc (lamb's milk) arose because the date was the beginning of the lambing season. Another name was Brigantia, for the Celtic goddess of light, as daylight increased at this midpoint between the winter solstice and spring.

May Day, halfway between spring and summer, was a day of feasting and joy as the crops sown soon after Lady Day in March began to sprout. In this season of new life advancing, May Day became the traditional date for young men and women to pair up. They would marry at the next cross-quarter day, after three months of courting to see if they would suit. June weddings came about as impatient couples pushed up the happy day.

On August 1 is Lammas, the first festival of the harvest. The Celtic name is Lughnasaid, the day of the wedding of Lugh, the Celtic sun god, and the earth goddess, whose marriage caused the grain to ripen. The Anglo-Saxon Chronicle, which dates from the ninth century, calls it "the feast of first fruits". The name "Lammas" may derive from the shortening of Lughnasaid, or the term "Loaf-Mass", for on this day, the first loaves made from the year's grain crop were brought to the church for blessings. Also, on or before this day, English landlords required their tenants to present them with the freshly harvested wheat.

Last is All Hallows Day and the evening before, Samhain. By All Hallows Day, the harvest is in and the year turns to the depths of winter. Samhain, the day before, was the death night of the old Celtic year. Its association with death and dying led to its transformation into our modern Halloween.

And so the year turns, from Quarter Day to Cross-Quarter Day and back again, in the never-ending cycle of time.

Thank you all,
Picture from Wikipedia

Tuesday, February 4, 2014

Guest Maria Grace on Regency Letter Writing

Today, my guest is fellow Regency author Maria Grace and her latest book, the Jane Austen sequel, Twelfth Night at Longbourn, Volume 4 of her Given Good Principles series. (Buy link here) Here she tells us about the way her characters communicated at a distance--letter writing.

Welcome Maria!

Maria Grace:

In the days before telegraphs or telephones, email or texts, Twitter or Facebook, the only way to maintain connections with distant family and friends was letter writing.  During the Regency, writing letters, reading them, and sharing the news they contained was an essential part of social life, a part largely slated for the women of the household.

Typically, women would write letters in the morning, before breakfast. They kept track of the letters they received and to whom they owed letters as carefully as they did other social obligations. Though information in a letter might be widely shared, letters were considered very private.  One did not read another person’s letters. Select portions of letters might be read aloud to an audience. 

Letter writing was considered an art form and was taught to young ladies as part of their necessary accomplishments.  Governesses or boarding schools would teach handwriting, spelling and grammar, and the construction of suitable phrases to use in correspondence. Collections of letters by famous figures and books of sample letters could be found to assist a letter writer in conveying an appropriate sentiment in just the right way.

‘Dashing off a quick letter’ was hardly swift or simple process by today’s standards. A number of expensive supplies and specialized equipment was needed to produce a proper letter.

The first step to crafting a letter was preparing the paper. Paper was an expensive commodity during the Regency, not like today when hundreds of note pads of various shapes and colors litter drawers, desks and countertops all over my house.

Paper, sold at stationers, could be bought by the ream (480 sheets), the bale (ten reams), though paper was most commonly sold by the quire (1/20th a ream, 24 sheets). In some cases, particularly for specialty paper, like drawing paper, it was sold by the sheet. Foolscap, one of the most common (and smallest) paper sizes available, was typically used for printing and letter writing.  Even so, at 16 1/2 inches by 13 1/4 inches it was often too large for a specific task and was often trimmed to size.

A common misconception was that people used parchment or vellum for everyday writing. The cost of these animal-skin based products what prohibitive for all but the most wealthy.  Even the richest individuals would have used it for only the most important documents.

Writing implements
Once the paper was ready, a pen (most likely) or pencil would have to be prepared.

Quill pens

During the Regency, the most common pen was a quill pen from goose, swan or crow feather. Not just any feather was suitable for a quill pen.  The best quills for pens were those from primary flight feathers taken from living birds.  A healthy goose could produce about twenty pen-quills a year. Feather from the left wing were favored because the curve made them easier for right-handed writers to use.  Left handers preferred pens made from the right wing. Goose feathers, the most commonly used ones, were used for writing pens. Swan pens produced very broad lines. In contrast, crow feathers produced very fine, flexible pen nibs, favored by artists and ladies who wrote in small, delicate lines.

Freshly plucked quills had to undergo extensive treatment before they could be used as pens. The process, called quill-dutching started with plunging the quills into hot sand to remove the inner and outer membranes and harden the barrel of the quill. A treatment of nitric acid might be used to improve their appearance, but some thought it made the quills too brittle, so not all quills were treated with it. Finally, quill dressers would trim away a section of the feathery ‘barb’ to make the pens easier to handle and take up less space for shipping. 

The pens would not be ready for sale until they had the attention of a pen-cutter. These professionals would cut the quill down to a usable writing nib. A well cut pen, if treated correctly, could be used for quite some time before needing to be recut, something typical done by the pen’s owner with a pen knife.  A pen could be re-cut several times before it was no longer usable.


Pens would be of little use without ink. That should be fairly easy, a little lampblack or charcoal and some water and we’re ready to go, right? No, not at all.  Ink was actually a very complex substance to create.

The most common ink was iron gall ink, made from oak galls, iron sulfate and acacia gum. The galls were pulverized, soaked in rain water for seven to ten days, boiled to concentrate the ink, iron sulfate and acacia gum were introduced. Sugar, salt or brandy might also be added to the infusion. The fluid was stored in a tightly stoppered stoneware jug and kept warm to ferment for two weeks. Finally it was strained and ready for use.

When first applied to paper, iron gall ink would be light grey, but after exposure to air, it would darken to a very permanent, dark purplish black. The major drawback using this ink was that if the iron sulfate content was too high, it would disintegrate the paper over time.

Ink could be purchased at a stationer’s shop, along with quills and paper.  Some stationers would formulate their own ink, generating a certain kind of brand loyalty in their customers.

For those seeking less expensive sources, traveling ink sellers could be found in the streets, crying their wares along with sellers of fish, scissor grinders, and other tradesmen. They would carry their supply in small barrels and dispense it directly into the bottles supplied by their customers.

Though we take it for granted today, the pencil was the first truly portable, use anywhere on almost anything writing instrument. Its introduction freed artists and writers from the constraints of quills and ink.

At first, solid sticks of graphite were wrapped in string or paper to make them cleaner to use. By the 17th century, various wood and metal holders, like chalk holders used today, had been developed. The exact date that graphite was encased in wood to create a cased pencil is not known. At first, these were all handmade and very expensive, but as machines were developed to do the job, they became affordable to common folk.

Sealing wax and wafers

Since envelopes did not come into general use until 1840, Regency era writers had to resort to other means to keep their correspondence sealed and private. The least expensive alternative was to use wafers of flour and gum. Letters were folded to form an envelope and a person would lick the wafer to stick the paper shut.

Those who could afford more elegant means would use sealing wax which provided a tamper-evident seal for their documents.  In general, people preferred red sealing wax and it was the most commonly seen wax. Black sealing wax was used for letters bearing the news of death and during periods of mourning.  Green was the only other color available during the Regency era, used by the office of the Exchequer and the courts, of both the government and the Church.

Sticks of sealing wax were about seven to eight inches in length and did not have a wick.  They would be held over a candle to soften, then pressed down on the paper to be sealed. A seal or signet would then be pressed into the soft wax so that any tampering with the seal would be evident.

With all the specialized tools and supplies for letter writing it is little wonder that elaborate writing desks and desk sets to store everything were common in the era. Clearly our concept of dashing off a quick text in thirty seconds on a cell phone bears little resemblance to the production that penning even a brief letter would have been in the Regency era.

All About It:or: the History and Mystery of Common Things. New York: W. Townsend &Company, 1859.
Collins, Irene. Jane Austen, The Parson's Daughter. Hambledon (1998)
Copeland, Edward, McMaster, Juliet, The Cambridge Companion to Jane Austen. Cambridge: Cambridge University Press, 1997.
Jeffers, Regina.  We Get Stacks and Stacks of Letters…  August 8, 2012  
 Kathryn Kane.  The Regency Redingote. Sealing … Wax? 16 November 2012
Kathryn Kane.  The Regency Redingote. The Precious Regency Pencil
Kathryn Kane.  The Regency Redingote. Ink — Regency Writing Fluid
Kathryn Kane.  The Regency Redingote. The Quill — The Regency Pen
Kathryn Kane.  The Regency Redingote. Parchment is NOT Paper! 21 August 2009
Kathryn Kane.  The Regency Redingote. Oh, foolish Foolscap! 31 October 2008
Lane, Maggie. Jane Austen's World. Carlton Books (2005)
Le Faye, Deirdre. Jane Austen: The World of Her Novels. Harry N. Abrams (2002)
Martin, Joanna . Wives and Daughters. Hambledon Continuum (2004)
Selwyn, David .  Jane Austen & Leisure The Hambledon Press (1999)
Todd, Janet M., Jane Austen in Context. Cambridge: Cambridge University Press, 2005.
Watkins, Susan.  Jane Austen's Town and Country Style Rizzoli (1990)

Uppermost two pictures provided by the author. Other pictures from Wikipedia.

Author bio
Though Maria Grace has been writing fiction since she was ten years old, those early efforts happily reside in a file drawer and are unlikely to see the light of day again, for which many are grateful.

She has one husband, two graduate degrees and two black belts, three sons, four undergraduate majors, five nieces, six cats, seven Regency-era fiction projects and notes for eight more writing projects in progress. To round out the list, she cooks for nine in order to accommodate the growing boys and usually makes ten meals at a time so she only cooks twice a month.

Contact her at:
Visit her website Random Bits of Fascination (
On Twitter @WriteMariaGrace, or

Sunday, January 5, 2014

Quarter Days

This post is the first in two posts about Quarter Days and Cross-Quarter Days. The second one, Cross-Quarter Days, is here.

For societies located in the temperate latitudes, the turning of the seasons provides a natural division of the year into quarters. In Britain, the Quarter Days, used at least since the Middle Ages, mark these four major parts of the year.

The four Quarter Days in southern England, Wales and Ireland are:
Lady Day - March 25, Feast of the Annunciation of the Virgin Mary, the traditional day for hiring farm workers for the coming year
Midsummer - June 24, Feast of St John the Baptist, the midpoint of the growing season
Michaelmas - September 29, Feast of St. Michael the Archangel, start of the harvest
Christmas - December 25, Feast of the Birth of Jesus, high point of the year, when farm workers were paid for the year's labor

The Quarter Days originally referred to the agricultural cycle. But because they're easy to remember, they eventually became the markers for other events and obligations. Servants were traditionally hired and paid on these dates. Rents were due then, giving rise to their other name of Gale (or Rent) Days. In England, leasehold payments and business premises rents are still often due on the Quarter Days. Since the dates were already associated with debts, other debts were usually paid then, too.

The Quarter Days were also used for legal matters. At those times, justices of the peace discharged their responsibilities for dealing with taxes and the care of roads, and could order the constables to pay the amount of money owed the poor.

School terms remain loosely linked with the Quarter Days. For example, Michaelmas term at Cambridge runs from October through December, the Lent term from January to March, and the Easter term from April to June.

In the northern part of England and in Scotland, the four Quarter Days (also called Old Scottish Term Days in Scotland) are:
Candlemas - February 2, Feast of the Purification of the Virgin Mary
Whitsunday - May 15, Feast of the Holy Spirit
Lammas - August 1, Feast of St Peter’s Deliverance from Prison
Martinmas - November 11, Feast of St Martin the Bishop

Note that the days are different for England and Scotland. Both mark the start of the seasons, but according to different calendars. The English Quarter Days roughly align with the astronomical seasons, while the Scottish Quarter Days mark (more or less) the start of the seasons according to the Celtic calendar. These Scottish days correspond more closely, but not exactly, to the cross-quarter days, or mid-season days, of the English calendar.

More on the cross-quarter days next time.

Thank you all,

Sunday, December 8, 2013

My Regency Christmas Books

I have two Regency Christmas books, A Gift from the Stars and Mistletoe Everywhere.

A Gift from the Stars, Book 1 of The Regency Star Travelers, is my latest, and adds a bit of science fiction to the mostly Regency tale. The setting is the English countryside in December, and the gift is a mysterious crystal left behind when a space ship takes off after landing beside the heroine's house. The story also contains a wolf, the two-tailed comet of 1811, meteors, a wounded hero and a daring heroine. Whew! Did I get everything?

Mistletoe Everywhere adds some fantasy to Christmas. The hero sees mistletoe over the lady who jilted him, mistletoe only he can see. The heroine never wants to see the hero again because he called off their betrothal. Who's right? There are the estranged lovers, lots of mistletoe, real or supernatural, and the hero becomes the butt of mistletoe jokes.

Buy links below. Note, Mistletoe Everywhere and all ebooks are 25% off at The Wild Rose Press website through December 25, 2013.

A Gift from the Stars  

The Regency Star Travelers--where the Regency and outer space meet with romance.

A gift from the stars can change your life.

Miss Elizabeth Ashby loves astronomy. She especially enjoys her once-in-a-lifetime chance to observe the Great Comet of 1811. However, her excitement vanishes the night an odd-looking meteor proves to be a sky craft which lands nearby. The man who emerges from the vehicle doesn’t see her, but as he reenters his craft to fly away, he drops a small red stone.

The stone from the stars glows and sends waves of warmth and something else through Elizabeth. Her incipient cold disappears, her illness-prone mother shakes off her maladies, and everyone else who comes near the stone, which Elizabeth wears as a pendant, feels in the pink of health.

Including Mr. Jonathan Markham, who also saw the strange meteor but was too far away to determine what the object was. Gored by a bull, Jon has been slow to mend until he meets the enchanting Elizabeth. Does his sudden speedy recovery emanate from his fascination with the desirable lady? Or something else?

A sweet, traditional Regency romance novel with science fiction elements. 71,000 words. A clean romance.

Lower and lower the shooting star descended, much too slowly to Elizabeth’s way of thinking. From the angle and rate of its motion, the object would likely strike the earth close by. If she could distinguish some landmarks by its glow, perhaps she could find the stone.

She craned her neck back as the meteor soared across the firmament. The unearthly rock blazed with the colors of the rainbow from friction with the air.
Coldness pricked her spine. A meteor that enormous should race through the heavens, shrieking in outrage as its surface pounded through the atmosphere. This one was silent. And the stone—or was it a stone?—sloped down in a leisurely, graceful curve, as gently as a feather floating in a light breeze.
With eerie stillness, the object continued its glide across the ebony sky, looming ever immense as its bulk neared the ground.

She could even make out features. In her experience, meteors were dark, pitted lumps of rock or metal. This one was white, its pointed nose flaring out behind to form a stretched-out triangle, almost like a bird with unfurled wings.

And its size! Her heart in her throat, she jumped up. The thing was larger than a mail coach. And it would fall onto Sentinel Moor beside her house!
Continually slowing, the peculiar entity descended. The object slipped below the level of the high Sentinel Oak across the field, and then behind the top of the six-foot hawthorn hedge separating her garden from the meadow.
Elizabeth took a step to run around the tall shrub. Blinding whiteness exploded on the moor. She threw up her hands to shield her eyes and then tumbled to the ground.

Available at Amazon, Amazon UK, Barnes and Noble , Smashwords, Sony, Kobo, and Apple. Note, all formats are available on Smashwords.

Mistletoe Everywhere

A man who sees mistletoe everywhere is mad--or in love.

Charles sees mistletoe. Not surprising, since he's spending Christmas at Mistletoe Manor. But why does no one else see it? And why does it always appear above Penelope, the despised lady who jilted him after their last meeting?

Penelope wants nothing to do with the faithless Charles, the man who cried off after she accepted his marriage proposal. But he still stirs her heart--and he stares at her all the time. Or rather, he stares at the empty ceiling over her head…What does he see?

According to folklore, mistletoe is the plant of peace. Can Penelope and Charles, so full of hurt and anger, heed the mistletoe's message and make peace?

A sweet, traditional Regency romance, clean read.

After Charles had heaped his plate with more food than he wanted, he took one of the empty chairs at the table bottom, as far from Penelope as possible.

His tensed muscles eased as he joked with his friends. Smythe made a comment and Charles turned to answer. He caught sight of Penelope…and a monstrous bunch of mistletoe above her.

"Gordon? What is it?" Smythe swiveled in the direction Charles was staring. He looked up and down, and from one side to the other. "I say, with your mouth hanging open like that, you must see something spectacular, but damned if I know what it is."

With an audible click, Charles clamped his jaw shut. "I thought I saw…" He forced his gaze back to his companion. "Nothing. I imagined I saw mistletoe."

Smythe's eyebrows rose. "Mistletoe?"

"Yes. The house is named 'Mistletoe Manor', so the place is filled with mistletoe decorations. Pictures, wall hangings, ceiling trim, whatnot."

"Indeed." Smythe's eyebrows rose higher. "That 'mistletoe' you saw is over that Miss Lawrence. Lovely little filly." His lips curved into a knowing grin. "My jaw dropped the first time I saw her, too."

Charles stiffened. "I was not looking at Miss Lawrence. I believed I saw mistletoe over her."

"'Mistletoe'." Symthe's grin widened. "Of course."

Available at Amazon, Barnes and Noble, All Romance Ebooks and other places where ebooks are sold. 

Through December 25, 2013, Mistletoe Everywhere is 25% off at The Wild Rose Press, and so are my other Wild Rose Press books, link to all my books here.

Merry Christmas and Happy New Year.

Thank you all,

Sunday, December 1, 2013

Review: EVERLASTING ENCHANTMENT by Kathryne Kennedy

Kathryne Kennedy’s Relics of Merlin series has another winner in Everlasting Enchantment!

In the magical London of 1839, the ladies are all atwitter. Rumor speaks of a magical bracelet, one which chooses a lady and then brings forth a virile knight who grants her one--and only one--night of never-to-be-forgotten passion. Millicent, denizen of the dark underworld that high-born society pretends doesn’t exist, must ferret out the truth.

Her search leads her to one of the elusive and much-sought-after Relics of Merlin, and the bracelet chooses her. Now she must contend with Gareth, entrapped in the amulet, and who seeks the woman who can release him. Their feelings for each other grow, but Millicent must give him up to secure her goal, and Gareth must keep her to attain his.

Ms. Kennedy has created another exciting magical romantic adventure tale in this latest installment of the Relics of Merlin. Magic flows in the air, where were-creatures of all kinds bump shoulders with wizards, mages and common folk, spells abound, and illusion is a part of life. Under Ms. Kennedy’s deft hand, you believe such a world can exist.

But where illusion is everyday, nothing is as it seems, and Ms. Kennedy is a master at showing you one thing while masking the truth. Millicent’s and Gareth’s goals appear clean-cut, but they may not be. Each must help the other if there is to be redemption for either of them. Everlasting Enchantment is a story of learning, change, risk, and finding salvation where you least expect it.

I loved the first two Relics of Merlin novels (Enchanting the Lady, Double Enchantment), and I’m glad Ms. Kennedy has returned to this unique world with Everlasting Enchantment. I look forward to the upcoming books.

Thank you all,
ARC provided by Sourcebooks