*****

The idea of making a big mistake or series of mistakes and finding happiness and fulfillment, despite the mistakes, is an alluring idea. We've all done things we regret or made errors that were seemingly unfixable, but I think everyone likes the idea that it is possible to come full circle, to make things right.

Book examples:

• Persuasion by Jane Austen
• Barely a Lady by Eileen Dreyer
• Ain't She Sweet by Susan Elizabeth Phillips

Examples from favorite books:
In Persuasion, one of my favorite examples of this type of novel, Anne Elliot is persuaded to make the logical decision not to marry the penniless (at the time) Fredrick Wentworth. Finding each other years later, Anne realizes her feelings for Fredrick have not changed, but he doesn't want to be rejected by Anne again. In the end, they find their way back to each other despite the obstacles raised by Anne's family and friends.

In Barely a Lady, Jack has divorced Olivia. Being divorced puts Grace in disgrace, unable to earn a living when employers learn about her past. Olivia is reunited with Jack after they haven't seen each other for several years. Jack is experiencing amnesia and believes he's still married to Olivia. Jack's recovery from the amnesia allows him to process the falsehoods that led him to divorce Olivia. Jack and Olivia make painful steps to rebuild their relationship to make their happy ending.

In Ain't She Sweet, Sugar Beth Carey is a popular, wealthy, and hellish teenager, tormenting most of her small southern hometown. She wields enough influence to get her high school English teacher, Colin Byrne, wrongfully fired for sexual harassment. After more than a decade away from home, Sugar Beth returns a changed woman. Her past victims aren't much interested in her beyond revenge. Sugar Beth pays her dues, to some degree, and finds her happily ever after with Colin.

Settings: It doesn't really matter where or when the story happens, the characters and their conflict resolution are what makes the story.

Heroine/Hero Type: Strong, only strong heroines and heroes can make the painful steps necessary come back from whatever mess they've made of their lives.

Plot (action-oriented / character-driven): Character-driven

Writing style (simple v. ornate): Simple

Dialogue (lots/little/balanced): Balanced, most of these stories really need dialogue between the characters to work through problems. However, internal dialogue is also hugely important to understanding the characters.

Humor (Yes/No-serious/some): Humor can be effective depending on the story, but isn't necessary in all cases.

Emotional Angst (high/medium/low): Variable, sometimes an angsty read hits the spot.

Conflict (externally driven/internally driven/both): Both, there has to be conflict between the hero and heroine along with internal conflict to make the story interesting. Often, the hero and heroine have their own issues that need to be worked through before they can repair their relationship.

Heat level: (kisses/warm/hot/scorching): Variable, having copious amounts of super-heated sex does not magically cure a diseased relationship. On the other hand, the physical aspect of a relationship can't be ignored completely or the story is not true to the characters. I think everyone has read a book or two where one of the characters tries to sex the other back in line with what they want. That would be an example of faulty conflict resolution.

What are some of your favorite redemption stories?

In romance, you also have a unique situation. Writers like Nalini Singh who publish in category are considered a “debut” author for the purposes of their first mass market. Her “debut” book would then be Slave to Sensation. I think this would probably be true for ebook authors moving into the print publishing market for the first time. Probably my favorite romance debut (that is until the comments jog my memory) is Manhunting by Jennifer Crusie.

For the purposes of this post, I ask that you give a shout out to your favorite debut novels and if they’ve been previously published, either in category or ebook, identify that. For fun, I’ll give away the two address books from the Harlequin vintage stationary collection to two random commenters.

Here are a couple to start the thread:

• Eileen Wilks, Tempting Danger featuring Lily Yu, of Chinese descent.   Main protagonist.   Urban fantasy romance.
• Meljean Brook, Demon Moon featuring Savi Murray, of Indian descent.   Main protagonist. Urban fantasy romance.
• Jade Lee, The Concubine, historical set in China featuring two Chinese protagonists. Historical.
• Anne McAllister, Antonides’ Forbidden Wife, featuring Ally, half Japanese.   Main protagonist.   Straight contemporary.

So bring on the mistress, courtesan or fallen woman recommendations.   Please note if the book features a woman who pretends to be a fallen woman and is not (Bel, from The Duke, I am looking at you).

Nalini Singh’s Pys/Changeling series has focused more on the cat shifter than the wolf shifter although the Snow Dancers will likely play a bigger role in future books. Caressed by Ice features a she-wolf/Psy pairing but it didn’t delve into the shifter culture as much as it was focused on the emotional trauma suffered by Brenna and the thawing of Judd, the Psy Arrow.

I fell in love with the wolf shifter myth with Kelley Armstrong’s Bitten and Stolen which are told from the point of view of Elena who became a werewolf when Clay bit her. Armstrong’s latest work, Frostbitten, is a return to the world of Clay and Elena.

Kinsey Holley’s Kiss and Kin is a sexy werewolf shifter story but it’s a short story and I don’t think we were given enough time to explore either the myth of the shifters or the emotional bond of the characters. I look forward to more from Holley though.

Sarah McCarty’s upcoming paranormal series has werewolves and vampires that shift into wolves but Caleb, the first in the series, really doesn’t explore the wolf shifter dynamic and myth.

Susan Krinard’s main focus is the wolf, or Loup Garou, but even she has branched out into other shifter territory such as shifting unicorns (Lord of Legends).

If you were to compile a best of series for werewolf lovers, what romance books would you include?

*****

Edited to Add: Suggestions of werewolf romances from the comments:

• Dakota Cassidy – Accidental Werewolf (via May)
• Lora Leigh – Breed series (via Gina)
• Kresley Cole – A Hunger Like No Other and Wicked Deeds on a Winter’s Night. Her next book is about the Lykae as well. (via Cheryl McInnis)
• Terry Spear – starting with Destiny of the Wolf (I want to read these) (thanks Silver James)
• Rebeca York – Moon series, starting with Killling Moon
• Larissa Ione – Desire Unchained has a werewolf heroine (via marga)
• Mireya offers up a series of shifter books:     Judy Mays, Rhyannon Byrd (though this author also has a series with Harlequin), Tielle St. Clare, Charlene Teglia, Christine Warren (her Others series, ties to her formerly known as the Fix series, which started at EC. A few of hers involve werewolves), Sherri L. King, Shiloh Walker, Nathalie Gray, etc.   Shelly Laurenston writes fun shifter stories for Kensington’s Brava. Most of hers involve werewolves.
• Amanda: Cynthia Eden’s Hotter After Midnight.
• Kimmy: Sharie Kohler’s "Moon Chasers’ series; Karen Whiddon’s "The Pack’ series is pretty decent as well.
• Sherrilyn Kenyon’s Vane, Fang and Fury are up there too. (via Lesley)
• Lauren Dane’s Cascadia Pack and Shelly Laurentson’s series contains some werewolves (via Reacher Fan)
• Lane recommended LM Prieto’s books featuring m/m werewolf romance and Estara recommends the JL Langley werewolf books.
• Madelaine Montague, polyamorous stories suggested by Reacher Fan.
• Rebecca Flanders (OOP), Wolf in Waiting recommended by Meljean Brook.

Choosing  this particular age, 1560 BC, in Egyptian history is quite clever. With the upheavals and the scarcity of historical records, you’ve got a more wide open canvas upon which to paint the story you want to tell. "Blue Gold" gets me doing what I love for historical books to do and that’s research the people, places and things used to tell the story. I learned all kinds of things about Hyksos rulers of Lower Egypt, the god Set, the f’ed up family of Sekenenre, the land of Punt and kedeshahs.

I would love to read more Ancient World settings. Have you got any recommendations. (Thanks to MoragtheScot for the idea of this post and for reminding me about it).

What are your favorite authors and titles in the medieval time period.

Some of my favorite medievals are by Julie Garwood (no comments from the peanut gallery, Jayne).   Who can have read Honor’s Splendour and not sighed aloud when Madelyne warms Duncan’s feet? (If you read it and didn’t sigh, you have a cold, cold heart.   Also, refuse to link to Garwood’s website as I find it almost unuseable and certainly unfriendly to readers).

What are your favorites?

I thought it would be great to build a recommended list here for various tropes. Give us your best recommendations and I’ll update this post.

Val Kovalin who writes about fantasy fiction at ValKovalin.com and m/m fiction at Obsidian Bookshelf is hosting this If You Like entry on Jordan Castillo Price. Val Kavolin did a great piece on Julia Spencer Fleming, a favorite of author of mine.

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It’s with great interest that I’ve read the comments of many DearAuthor readers, already fans of traditional m/f romance, who are venturing into m/m fiction. I happen to be doing the same thing, but coming from the opposite direction (m/m to m/f) so maybe I can help.

Jordan’s strong points include the following:

• Comedy. This is so rare and so worthwhile! I deeply appreciate the author who can make me laugh.
• Creative genre-blending. A typical piece by Jordan can contain romance, erotica, comedy, horror, mystery, and paranormal elements.
• Male characters who are GUYS through and through. Some women authors don’t write believable men, but Jordan does.
• Precise and vivid details that make each piece come alive with sensory detail.

Publishing in ebook and print, Jordan is currently working on two m/m series. The first is the PsyCop series, and the second is the Channeling Morpheus / Sweet Oblivion series. Fans of Josh Lanyon should take note: Jordan will be the co-writer with him on the Partners in Crime series forthcoming from MLR Press.

The PsyCop series. In this universe, psychic cops of various specialties partner with non-psychic cops in the elite PsyCop units. Vic is a cop with a mysterious past who can contact the dead – so naturally he works Homicide. He’s also a nervous wreck who copes by ingesting pharmaceuticals of all types. His boyfriend Jacob is a non-psychic cop. Supporting characters include Lisa, a precognitive cop; Carolyn, a truth-seer who is Jacob’s partner; and occult-shop employee Crash, an empath who delights in complicating the relationship between Vic and Jacob. The PsyCop series maintains an unusual balance between realism, angst, and comedy as it delves into the psychological and emotional problems of Vic.

Here are the PsyCop titles:

• PsyCop 1 – Among the Living
• PsyCop 2 – Criss Cross
• PsyCop 3 – Body & Soul
• PsyCop 4 – Secrets

You can buy the installments individually as ebooks or combined into print volumes: PsyCop 1 & 2 are combined in PsyCop Partners. PsyCop 3 & 4 are combined in PsyCop Property.

The Channeling Morpheus series. Channeling Morpheus is a five-novella cycle published by Changeling Press. It will soon be followed by a second cycle centered on the same characters and titled Sweet Oblivion. It’s darker in tone than the PsyCop series and centers on the obsessive emotional and sexual relationship between a vampire-slaver named Michael and a vampire named Wild Bill. I’m normally not a fan of vampires or erotica so it says a LOT that I find this particular series fresh and involving. Also, the characters travel vast distances and Jordan conveys a uniquely American sense of place as they drift from coffee shop to truck stop to fleabag motel.

Here are the Channeling Morpheus titles:

• Channeling Morpheus 1 – Payback
• Channeling Morpheus 2 – Vertigo
• Channeling Morpheus 3 – Manikin
• Channeling Morpheus 4 – Tainted

Jordan offers some stand-alone stories for free or for less than one dollar on her Lulu.com site:  http://stores.lulu.com/jcprice

These books are set in the here-and-now with the internet playing a significant role in the Channeling Morpheus series.

Setting (geographic): Midwestern USA

The PsyCop series is set in Chicago and the Midwest. The Channeling Morpheus series is set throughout the Midwest.

Heroine type: None so far

This is m/m fiction so we’ve got two male leads and some supporting female characters. Lisa Gutierrez from the PsyCop series is especially vivid as the inexperienced young cop struggling to control her precognitive talents.

Hero type: Smart, funny, and a bit anxious

It’s hard to reduce the heroes to only a few words. Vic from the PsyCop series is the most anxious. He’s insecure, high-strung, and funny. His boyfriend Jacob, sexy and self-confident, offers him a protective sense of stability. In Channeling Morpheus, Michael the young vampire-slayer has a vulnerable exterior that masks a mysterious resolve and cold willingness to kill. Wild Bill is probably my favorite narrator: his rebellious nature and harsh, unsentimental vernacular hide a deeply romantic heart. The contrast between what he says and what he feels is striking.

Plot (action-oriented / character-driven): Both

Each installment has an external conflict that must be solved: a mystery for the PsyCop characters or a quest for the Channeling Morpheus characters. The overall story arc develops their character evolution. In the PsyCop series, Vic learns to use his psychic talent and to develop enough trust to flourish in his relationship with Jacob. In Channeling Morpheus, Michael and Bill negotiate the pitfalls of attraction between vampire and slayer.

Plot (slow/fast): Fast

Not a word gets wasted. These stories really move.

Writing style (simple v. ornate): Simple

The writing style is pared-down and swift, but it still contains some beautiful prose such as this description from Wild Bill’s viewpoint (from page 22 of Channeling Morpheus 4 – Tainted):

“- I half-dreamt that I was lying in the sun under a tree with fallen peaches all around me, overripe, fermented, practically rotten, their fuzz burst and split in places, swarmed with buzzing hornets and crawling with ants.”

Dialogue (lots v. little): A balanced, medium amount

Some of the funniest moments come from her dialogue.

Humor (Yes/No-serious/some): Yes

This is serious fiction that contains a lot of humor. One of my favorite scenes comes from PsyCop 3 Body & Soul when Vic visits Jacob’s family in Wisconsin for Thanksgiving. On page 20, Jacob’s dad informs their guest from Chicago of their position on football:

“We don’t watch the Bears in this house unless they’re getting their asses handed to them by the Packers.”

Emotional Angst (high/medium/low): Medium

Definitely there is emotional angst in both series. Vic copes with drug addiction, covert government conspiracies, and the harrowing experience of being harassed non-stop by the dead. Bill and Michael struggle with their intense emotional and sexual connection when they know that they should be mortal enemies.

Conflict (externally driven/internally driven/both): Both

See my comments about Plot (action-oriented / character-driven).

Heat level (kisses/warm/hot/scorching): Scorching

Fans of erotica, rejoice. There is no demure fade-out in either series. The sex is explicit, realistic, well-written, and emotionally engaging. In particular, the sex scenes in Channeling Morpheus 2 – Vertigo are among the very best I’ve ever read.
If you like Jordan Castillo Price, you probably like a balance of paranormal with detailed, realistic settings. You’ll appreciate humor and explicit sex scenes. If this sounds like you, then definitely check out J. M. Snyder’s The Bonds of Love series set in Richmond, Virginia. This paranormal romance centers on a bus driver named Vic Braunson who develops an ever-changing array of superpowers through the mysterious influence of his lover, a fitness instructor named Matt DiLorenzo.
The Bonds of Love has humor, explicit sex, and a very appealing relationship between the two heroes. It also features precise, vivid sensory detail that grounds you in everyday Richmond, Virginia – sensory detail that I, as an aficionado of true escapism, look for but seldom find.

Readers, it’s your turn. What fiction would you recommend?

If you would like to host an “If You Like” post, please email me at Jane at dearauthor.com

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If you like Lois McMaster Bujold -

Lois McMaster Bujold is one of the most acclaimed authors in speculative fiction still writing today. Her first book Warrior’s Apprentice was published in 1986 and she’s published 20 more books since then. Her latest book,The Sharing Knife, Volume Four: Horizon comes out the beginning of next year. (I can’t wait!) She’s been nominated and won scads of awards- multiple Hugos, Nebulas and one World Fantasy Award for best novel. With her large and diverse backlist Prolific is her middle name.

Warning: There are spoilers in this post

Lois McMaster Bujold currently has three ongoing series:

• Vorkosigan Saga is an extensive SF epic primarily following the exploits of the diminutive but indomitable Lord Miles Vorkosigan. These are probably her best known works to date. The first books involve Miles’ parents Aral and Cordelia (Shards of Honorand Barrayar both found in Cordelia’s Honor ). The most recent book, Diplomatic Immunity, has Miles unraveling a plot aboard a space station while awaiting the birth of his twins. There are about a dozen books and short stories in between. Bujold is currently working on a new book involving Miles.
• Chalion books are set in a fictional universe loosely based on Spain in the 15th century at its unification. Chalion books are heavy on theology, and the gods play an important part in the threads of all the books: the Father, the Mother, the Daughter, the Son and the Bastard. The series features stand-alone books with a different protagonist for each. In each book one of the 5 gods is offstage pulling the strings. Bujold has said she would like to write one book for each of the five gods in the theology, so far she has only written three: The Curse of Chalion for the Daughter, Paladin of Souls for the Bastard and The Hallowed Hunt for the Son.
• The Sharing Knife books are fantasy novels set in a world loosely based on the country south of the Great Lakes in North America with technology roughly equivalent to the 1800s, minus explosives and gunpowder. The tensions between Lakewalkers and Farmers is reminiscent of the early culture clashes between settlers and Native Americans. In these books the romance takes front and center more than in any other Bujold. Dag is a Lakewalker, member of a nomadic, magician-warrior clan. Fawn is a farmer girl who ran away from home and right into Dag. There is a wide age gap standing between the two, but more than that, a deep-seated bigotry from both their kin that Lakewalkers and farmers do not marry. The whole world is telling Dag and Fawn they can’t be together, but the two of them forge their own way by holding strong to each other.

The Spirit Ring was a stand alone fantasy novel set in Italy that dealt with metallurgy and necromancy. It reads almost like a YA book. The hero and heroine are only 17 and 15 respectively, and they have somewhat immature perspectives. There’s a more cooperative resolution than in most of her books, in that the hero and heroine’s work to save the day is supplemented by contributions from the book’s minor characters. A warning: there is more violence than one would expect in a young adult book, and lots of corpses onstage for the action, as well as one incident of infanticide early in the book.

I started reading Lois McMaster’s books after reading reviews on this blog and at Smart Bitches, Trashy Books. I’d heard her name before, but my interest in Lois McMaster Bujold wasn’t really piqued until SBTB gave The Sharing Knife: Beguilement a rave review. I didn’t buy the book then but it stuck with me, and this year when I got my first ever library card, I saw a copy of Beguilement on the shelves and checked it out on a whim. Boy, am I glad I did! In a few short months I have devoured her backlist and discovered a new auto-buy author.

Setting (era): Diverse
Her time periods range widely. The Vorkosigan Saga is set in a hi-tech universe approximately 1000 years in the future with wormhole technology, babies grown in replicators outside their mothers, along with typical SF standbys likes stunners and holographics. The Spirit Ring is set in a fictional Italy in the 1500s. Chalion is set in a pseudo-medieval fantasy world. The fantasy world of The Sharing Knife feels more like the American frontier (complete with riverboats and straw hats).

Setting (geographic): Also Diverse
One of Bujold’s greatest strengths is her world-building. Her worlds go "all the way to edge of the page" as she puts it. She firmly fixes her settings in your mind without info-dumps or "As you know, Bob-" dialogue. And variety is her specialty. If you can think of it, chances are she’s set a book there: cities, boonies, back roads, lakes- in the Vorkosigan books alone you get rolling foothills, mountain caves, underground cities, arctic military bases, space stations, bio-domes-On and on. She’s also got this way with words, simple but so elegant. Here’s an excerpt from her latest book The Sharing Knife, Volume Three: Passage:

The valley of the Grace spread out below them in the gold-blue autumn light. The river seemed to have put on her party dress, her banks and bending hillsides a swirl of color: scarlet and purple-red, glowing yellow, bright brown. The water reflected the azure of the sky, save where it broke into a sparkling shoal, necklace to the dress. Brooches of boats slid upon the water- a distant keel, a broad, blunt ferry- with a girdle of flatboats pulled up along the farther shore."

But it’s not just about the landscape.
I used to believe an author only had one real, fully-formed, intricate world inside them. (Like Anne McCaffrey- her Dragonrider books are incredible, intricate and so well-developed. Unfortunately, in her other books the world-building is depressingly lackluster). Bujold has disabused me of this notion. Every world she creates is fully-formed and functional, perfectly inhabitable by the reader. The theology, the culture, the politics, and the history of the place-whichever place- are instilled so deeply on every page it’s like an immersion course, you could almost do anthropological studies on a Lois McMaster Bujold world. Her real brilliance is that she can do this without overwhelming the reader, and never once have I felt one of her world-building details was out of place or inorganic to the world. It’s a little hard to explain, but to me it sort of feels like if I was plunked in the middle of one of her books I could look all around me- up, down, sideways- and everything would be there, would be real. Forks on the table, paintings on the wall, manure in the streets, socio-political conflicts dating back centuries, etc, etc- One of my particular favorites is the religion in Chalion. It’s so logical, so seamless and legitimately real right down to the way they salute they’re gods, you’re half tempted to start your own church of the Five-Fold Pathway by the end. There are really plausible rituals and all the characters have varying levels of religious zeal. They aren’t zombies or moral mouthpieces. The church doesn’t feel like cobbled together bits of earth religions, either. It is very uniquely its own, belonging to no other place but Chalion.

Heroine type: Smart. Strong. Brave. Centered. They all save themselves, save the heroes, and save the day. They are just as capable as the heroes are. They can be naïve or jaded but never TSTL doormats. These girls don’t flounder or screw-up just so the hero can save them. They multi-task: saving themselves while ruling the world, thank you very much.

In the Vorkosigan Saga: (just a few)

• Kareen: Blonde. The bouncy daughter of the emperor’s own ex-personal bodyguard (that would be her mother), she’s ambitious and personable. The middle child in a brood of all blonde "commandos", she could sell water to a drowning man but she’s still torn, figuring her place and who she wants to be.
• Ekaterin: Brunette. An elegant widow in her early thirties, just coming out a soul-sucking, heart-blighting marriage. Damaged, unsure of herself at first, she’s sharp-witted, fierce, with a spine of steel and impeccable taste in all things.
• Cordelia: Red-head. A force of nature. At the start of the series (Shards of Honor) she’s in her mid-thirties, a science officer in despair of ever having a family or finding love. She’s tough, impulsive, and open-minded, with a bone-dry sense of humor. She not only pulls herself out of dire situations, she saves the hero too, and her ship’s crew and his ship’s crew and her planet and his planet

and- In Chalion: The romances tend to be relegated to the background, present without dominating the plot. All the women of Chalion, though, are clever and powerful, treading the dangerous waters of political intrigue with sure strokes and brave faces. Ista is the protagonist in Paladin of Souls; she’s middle-aged royalty, a faded beauty emerging from nearly two decades spent accursed and half-mad, stifled and confined for her own good by those who love her. In Paladin of Souls she reclaims her liberty and her life. She has a wonderful sense of self-direction and aggressively defends her autonomy, not only from those who love her and want to shelter her but even from the gods themselves.

In The Sharing Knife: Fawn is innocent, painfully young, but steadily learning more about the Wide Green World as the series progresses. In the first book she begins naïve, but with her voracious curiosity she grows towards full womanhood. She’s got the patented Bujold bravery and a lively sense of humor. The most appealing thing I find, though, is her unquenchable joy for life.

Hero type: Clever. Honorable. Driven. Leaders of men. Her heroes are so attractive, every last one of them, but it’s not because of how they look: it’s because of who they are. One interesting thing is, with the exception of Thur in The Spirit Ring, each and every one of her heroes has some kind of physical oddity. Aral has a large L-shaped scar on his face. Miles is very short with a mild hunch, has scars all over his body from various corrective surgeries and a giant one on his chest from a sniper shot. Cazaril is skinny and sickly for most of his book, his back is covered in whip welts, he has a sizeable tumor and he’s missing part of a finger. Dag is rugged, with the generally beat-up body of an old warrior, his left hand was bitten off by a wolf. These gentlemen probably aren’t winning any beauty pageants, and yet they are all so comfortable with who they are, what they are, it makes them so, so appealing. It’s obvious why the ladies want them- even if the heroes can’t understand it themselves.

In the Vorkosigan Saga: (just a few)

• Miles: Ah, Miles-where to begin? He’s intriguing, engrossing with charm and wit to spare. He’s unstoppable. He can unravel the most tangled piece of political intrigue. He can bring a seven foot tall werewoman to her knees with desire. He’s a genius. He’s a brilliant tactician. He’s-under five feet tall. I’ve seen him described as one of the most fascinating, well-developed characters in fiction. I can’t really argue with that, this guy’s like an onion- oy with the layers! He’s particularly charming when he’s wooing his future wife Ekaterin in A Civil Campaign: ""What, when they issued you their honor they didn’t give you the model with the reset button? Mine’s right here.’ He pointed to the general vicinity of his navel."
• Aral: A dedicated leader and father. He’s dealt with disasters (personal, political and otherwise) that would have crippled lesser men (and nearly cripple him but for Cordelia’s love-ahh!). "I would get up-but for some reason my legs go first and my tongue last. I’d rather fall at your feet in some more controlled fashion."

In Chalion:

• Cazaril: Humble. Loyal. A man of truly great integrity. He’s brilliant, especially when it comes to political maneuvering in a court full of scheming nobles. Cazaril is hands down one of my most favorite characters EVER! He fell to the very depths of despair and doom and emerged soft-spoken and self-deprecating. Once a great captain of men, after his enslavement he’s become unceasingly grateful for even the smallest kindness. He undervalues himself but fights tooth and nail, blood and bone to help those he cares about and owes fealty to. A wonderful, wonderful character. Here’s a quote of Caz’s from The Curse of Chalion:

"On the galleys we were not lords or men. We were men or animals, and which proved which had no relation I ever saw to birth or blood. The greatest soul I ever met there had been a tanner, and I would kiss his feet right now with joy to learn he yet lived. We slaves, we lords, we fools, we men and women, we mortals, we toys of the gods-’all the same thing, Palli. They are all the same to me now."

• Ingrey: The hero from The Hallowed Hunt, he’s a loyal liegeman and a secret shaman with the spirit of a wolf trapped in his gut. Handsome, agile, athletic. He’s set to guard a noblewoman who killed the prince in self-defense, and Ingrey finds himself drawn to the girl, Ijara, longing to protect her even as he knows she’s probably doomed. I enjoy how his priorities shift from self-preservation to protecting Ijara, and the ensuing romance is very sweet.

In The Sharing Knife: Dag is awesome. He begins world-weary and welcoming his death (consequence of a shattering loss in his early adult life) and then meets Fawn. She saves him, rekindling the old hunger for life and love. He defies his family and his whole society to stay by her. He acquires a philanthropic bent once he’s met Fawn, a desire to heal the world, unite the two peoples and he sets about doing it, even if it can feel like casting stones in the ocean. I particularly love how well Bujold depicts Dag’s reactions to various complications that arise. They are always multi-layered and real. And I love the way he loves Fawn.

From Beguilement:

"For the courage of her heart, which I saw face down the greatest horrors I know without breaking. For the high and hungry intelligence of her mind, which never stops asking questions, nor thinking about the answers. For the spark of her spirit, which could teach bonfires how to burn.-All this is set beside me, and you ask me instead if I want dirt? I do not understand farmers."

*swoon*

Writing style (simple v. ornate): Tends towards the simple.
It can get a little complicated in Vorkosigan if she’s space-jargoning but generally she’s not one to use a four syllables if she can get her point across with one. Really solid, well-written stuff that serves her stories. Some books have multiple points of view (A Civil Campaign has 5) and some have just the one (All the Chalion books thus far follow only one POV character). She also has a knack for summing up really complex, deep emotional truths with laser precision. An example from Vorkosigan: "Reputation is what other people know about you, honor is what you know about yourself." And here’s another for good measure from The Curse of Chalion:

"Events may be horrible or inescapable. Men have always a choice-’if not whether, then how, they may endure."

Dialogue (lots/little/balanced): Balanced.
There are occasionally sections very heavy in dialogue. Exposition. Interrogations. She doesn’t really do much rapid-fire back and forth dialogue like, say, Crusie or someone. Usually it tends to be a page of mostly conversation, then a page of mostly description, back and forth.

Humor (Yes/No-serious/some): Some.
A dry sense of humor permeates all her books. Occasionally events devolve into downright farce. A Civil Campaign probably has more in common with a Georgette Heyer romp than a classic space opera. At the least, all of her characters banter and joke with each other and to themselves. Usually they are self-deprecating and wry but always so, so funny. All of her books have humorous incidents but they’re not laugh-riots. This bit’s from A Civil Campaign:

"What the hell is going on down here?’ Roic bellowed, scrabbling for his stunner on the wrong side of his holster with his hands slippery from their coating of bug butter. "You woke me up! "S the third time somebody’s woke me up this morning! I’d just got to sleep. "Swore I’d kill the next sonuvabitch who woke me up–!’ Kareen and Martya clung together for a moment of pure aesthetic appreciation of the height, the breadth of shoulder, the bass reverberation, the generous serving of athletic young male Roic presented; Martya sighed. The Escobarans, naturally, had no idea who this giant naked screaming barbarian was who’d appeared between them and the only exit route they knew- Kareen cried urgently, "Roic, they’re trying to kidnap Enrique!’ "Yeah? Good-.Make sure they pack all his devil bugs along with him-’ The panicked Gustioz tried to lunge past Roic toward the door, but caromed off him instead. They both slipped in the bug butter and went down in an arcing flurry of official documentation.

Plot: (action-oriented / character-driven): 50/50.
But actually more like 100/100. Her books are so full, so rich and deep that you are captivated, dragged along on the adventures. Her characters are so real you want to buy them a drink. Her plots intricate and complex. She always creates organic, believable characters and then throws them into impossibly difficult, complicated, delicate situations. I’ve tried a couple times to sum them up here to give you an idea, but there’s just SO much drive in any given novel I don’t really know where to start.

Pace: (fast/medium/slow) Depends.
Most of the Vorkosigans are pretty fast-paced, but then there are some like A Civil Campaign and Komarr that start slower but rev into overdrive at the end. The Sharing Knife series is more slow and steady, episodic at times. Chalion is a mix edging more towards medium/slow. Her plots always manage, though, for all the sub-plots and complications, to remain tightly controlled. No sprawling, unfocused epics here, thank you very much.

Conflict (externally driven/internally driven/both): Both.
Bujold is always one to provide strong motivating factors, both internal and external. Here’s a couple tasters: in Diplomatic Immunity Miles is trying to get back home in time to be there for the birth of his twins. He’s side-tracked by a diplomatic nightmare. He has to worry about his own safety, that of his wife’s, the potential war brewing, a biological weapon that could kill thousands of people and a few other complications that would be too spoilery to mention. Cazaril from The Curse of Chalion has SO many conflicts. There’s a literal one growing in his belly slowly killing him, a demon and a dead soul trapped because of a curse Caz performed to save someone he loved. He’s torn politically between struggling factions. He’s torn theologically as the gods pull him every which way. He constantly questions his own decisions and motivations, wondering, hoping he’s doing the right thing and not leading his entire nation into disaster. He’s been shattered into a million small pieces and is slowly sorting through to see what still fits in his new life, his new self. Basically, in a Bujold book it doesn’t matter whether it’s external or internal- the characters are just driven. Inexorably, perhaps disastrously, driven onward to their fate.

Emotional Angst (high/medium/low): High.
Bujold writes her stories based on "What’s the worst thing I can do to this character?" They have to deal with lost loves, lost children, dishonor, death, disease, social injustice, attempted rape and so much more of the dark, twisty stuff that makes up life. Her books can get really dark but they still don’t take themselves too seriously. And as dark as the depths are to which her characters plunge they still manage to pull themselves back up.

Violence: PG-13 bordering on R.
Her violence is never gratuitous although it is often stark and shocking. I can be a little sensitive about bloodshed and I admit there have been a few scenes of hers that made me squirm, but nothing so disgusting or horrible it made me give up on the book. The Vorkosigan books are probably the most violent. In her books at large there have been mass graves, decapitations, miscarriages, graphic attempted rapes, and other acts of violence to be expected in heightened situations.

Heat level: (kisses/warm/hot/scorching): Kisses/Warm.
As far as the actual love scenes I would say probably kisses to warm. Very little sex takes place on stage. More often there’s a little lead up and then a fade to black. Or veiled allusions to what they’re doing without actually going into Insert Tab A into Slot B purple prose. There are no engorged members thrusting into love grottos here. The sex scenes are really there to build character and plot more than to titillate or excite and as such, are fairly tame. Here’s an example from The Sharing Knife: Beguilement:

Hand. Soon supplemented with tongue, in very tender places indeed. His touch was like silk, there, there, there? ah! She jerked in surprise but eased back. So, this was making love-.Minutes flew. Something was swirling through her, like some astonishingly sweet emergency. His touch grew firmer, swifter, surer. Her eyes closed, her breath came faster, and her spine began to arch. Then her breath caught, and she went rigid, silent, openmouthed, as the sensation burst from her, climbing up to white out her brain, to rush like a tide to her fingers and toes, to ebb.

I would point out that there are sometimes rather frank discussions in Bujold’s books about bisexuality, hermaphrodites, sexual violence and sexual experimentation, just as an FYI for people who might be sensitive about that stuff. Bujold pulls no punches. About anything, really.

If you like Lois McMaster Bujold, you’ll like-

I’m going to break this down too:

In General:
You might try some Georgette Heyer. She has the same enveloping, precise and detail-oriented world-building. Her characters are varied and rich. Her plots can become intricate as a fold of lace. She has romance, adventure, and intrigue. The witty quips fly faster than you can keep up sometimes. These Old Shades has the dark, delicious Duke of Avon. The Talisman Ring is a hilarious romp. The Grand Sophy features an indomitable, headstrong heroine. Personally, I’ve never read a Heyer I didn’t enjoy and the same goes for Bujold’s books too.

In Particular, if You Like:

• The Vorkosigan Saga try: Finders Keepers by Linnea Sinclair. The world-building isn’t up to Bujold, but if you’re hankering for some military SF with a romance this book reads like a poor man’s Vorkosigan in many places. The hero is pretty much a beefier, "hunk" version of Aral Vorkosigan. He’s even nick-named the Butcher too. I haven’t read any others by Sinclair but she’s a RITA award winning novelist with several other SF titles under her belt: maybe someone else can give more title suggestions. I unfortunately don’t read much SF and the stuff I have read is probably too dated for most modern SF readers. I hope other folks have more suggestions.
• Chalion try: I would recommend Andre Norton’s Witch World series (most of which have some kind of romance). Some of my favorites would be the first two Witch World books respectively titled The Witch World and Web of the Witch World. Also, Year of the Unicorn (which actually has no unicorns in it- promise!). All three of these have well-developed, satisfying romantic subplots, killer world-building and adept character development. I haven’t read this myself yet but from what I’ve read Sharon Shinn’s Twelve Houses series has similar themes and high stakes like Chalion. A world in peril, the state religion kind of up in the air-Tell me if I’m wrong in the comments, though.
• The Sharing Knife try: I highly recommend The Dragonriders of Pern series by Anne McCaffrey. Fans of The Sharing Knife books might like the conflict as two sets of peoples (Dragonriders and Holders) try to figure out how to live and support each other amidst a crisis that threatens their whole world. It features the same layered, intricate world-building as a Bujold novel and it has a lot of the same themes. Actually, the more I thought about it the more similarities I saw between the Dragonrider/ Holder and the Lakewalker/Farmer conflicts. Many, if not all, of the Dragonrider books have some sort of romantic subplot and the Dragonrider men are HAWT. I would highly recommend the first two books Dragonflight and Dragonquest. The series is pretty large so if you want to dive in I really recommend reading them in the order they were published and not by the books’ internal chronology. Oh, and don’t bother with the newest ones by her son at all. The Gryphon Saga by Andre Norton, comprised of three books: The Crystal Gryphon, Gryphon in Glory, and Gryphon’s Eyrie. They’re an off-shoot of the Witch World series and they follow Lord Kerovan, a lord’s heir and soldier, and his lady-love, Joisan, as they navigate their war-torn world. The first book has them separated by conflict and chaos. Kerovan has an out of the ordinary appearance (amber colored eyes and cloven feet) and magical abilities to match. Their marriage starts off as an arranged one of convenience but then they move towards friendship and, eventually, love, trust and true companionship. Kerovan reminds me a bit of Dag. He worries constantly if there is something profoundly evil about him because of his immense supernatural power. By the end of the first book Kerovan and Joisan set off into the wide unknown world together to wander and find answers to save themselves and their world.
• The Spirit Ring try: Robin McKinley’s Beauty and Spindle’s End. These books are similar because of the cooperative defeat of the baddies and the self-sufficient, strong heroines. Also they share the more young adult tone. McKinley’s have more pronounced romances (being based on fairytales) than The Spirit Ring and Bujold in general.

Ok, your turn: What do you recommend?

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If you like Jacqueline Carey -

Jacqueline Carey writes the Kushiel’s Legacy epic fantasy series (six books: Kushiel’s Dart, Kushiel’s Chosen, Kushiel’s Avatar , Kushiel’s Justice , Kushiel’s Scion , Kushiel’s Mercy), which may appeal to fans of historical romance and fantasy romance. To see why, please read on and rest assured that I don’t include any plot-spoilers.

Setting (era): Medieval.

Setting (geographic): Action takes place in Terre d’Ange (Land of the Angels), loosely based upon medieval France. The epic plotlines range across recognizable equivalents to medieval Britain and the Mediterranean area.

Heroine type: Subtle and sophisticated
Subtle, sophisticated, and serious. The heroine of the first three Kushiel books (Kushiel’s Dart, Kushiel’s Chosen, and Kushiel’s Avatar) is Phaedre, abandoned as a child to be raised in a brothel. In Terre D’Ange, however, sex is considered sacred and prostitutes are held in the same esteem as priestesses. Phaedre narrates the first three books from the perspective of a much sought-after courtesan who is also an elite spy. This is nowhere near as frivolously adventurous as it sounds. Phaedre is a very grave person, driven by loss and duty to queen and country.

The heroine of the next three books (Kushiel’s Scion, Kushiel’s Justice, Kushiel’s Mercy) is Sidonie, seen through the first-person narration of Imriel, Phaedre’s foster-son. Sidonie is the Crown Princess of Terre D’Ange. She struggles to repress her inappropriate attraction to Imriel and focus on her duty as the daughter of the queen.

Hero type: Strong and intense
The hero in the first three Kushiel books is Joscelin, a warrior-priest viewed through the first-person narration of Phaedre. Being rather young and inexperienced, he comes across believably rigid and intolerant. Assigned to protect Phaedre, he expresses his on-going disdain for her exploits as a courtesan. (Apparently, his particular priesthood holds a view towards prostitution that is atypical of that of most D’Angelines.) Later, he believes her to be a traitor. Eventually, he comes around.

The hero in the next three Kushiel books is Imriel, the foster son of Phaedre. Imriel is third-in-line for the throne. He’s probably the most complicated character in the six books: a handsome and hot-blooded type haunted by the memories of the slavery he endured as a child. His parents are remembered as the worst traitors in the history of the realm. Not only does he have their infamy to live down, he also has to struggle with an inherited tendency towards sexual sadism.

Plot: (action-oriented / character-driven): Both
Primarily, these are character-driven plots. The main characters make decisions based upon their fears and desires. This is turn results in real-world consequences such as intrigue or revenge which provides the action-oriented aspects of the plot.

Plot (slow/fast): Slow
Due to ornate writing, many side-plots, and a huge cast of characters.

Writing style (simple v. ornate): Ornate
From the first page of Kushiel’s Dart:

“It is not, of course, that I lacked beauty, even as a babe. I am a D’Angeline, after all, and ever since Blessed Elua set foot on the soil of our fair nation and called it home, the world has known what it means to be D’Angeline. My soft features echoed my mother’s, carved in miniature perfection. My skin, too fair for the canon of Jasmine House, was nonetheless a perfectly acceptable shade of ivory. My hair, which grew to curl in charming profusion, was the color of sable-in-shadows, reckoned a coup in some of the Houses. My limbs were straight and supple, my bones a marvel of delicate strength. No, the problem was elsewhere. To be sure, it was my eyes; and not even the pair of them, but merely the one. Such a small thing on which to hinge such a fate. Nothing more than a mote, a fleck, a mere speck of color – My eyes, when they settled, were that color the poets call bistre, a deep and lustrous darkness, like a forest pool under the shade of ancient oaks.”

Dialogue (lots v. little): Medium
A medium amount flavored with the occasional Elizabethanism (e.g., “Mayhap”).

Humor (Yes/No-serious/some): No-serious
Some subtle glints of irony and wry observation.

Emotional Angst (high/medium/low): High
Lots of emotional angst. See “Conflict” below.

Conflict (externally driven/internally driven/both): Internal
The internal conflict centers upon the sacrifices one must make for duty, and the hardships involved in growing beyond the legacy left by one’s parents.

Heat level: (kisses/warm/hot/scorching): Hot
Other than the graceful writing, the treatment of sex is what makes these books so remarkable. In romance fiction, sex is par for the course. But in fantasy fiction, sex never used to occur and especially not in detailed descriptions.

In Terre D’Ange, the guiding principle is “love as thou wilt.” Sex of any type is sacred and there are houses of pleasure devoted to gay, straight, and lesbian love; and to sadists and masochists. Our heroine Phaedre is an anguisette, which is a rare type of masochist who thrives upon pain and heals quickly. In the later books, our hero Imriel has sadistic tendencies. Since both tell their stories in first-person, and there are a lot of sexual encounters, you can probably guess how explicit the narrative can get. The courtly and formal writing style does tend to keep the reader at a comfortable distance, and this is why I rated the Heat Level “Hot” rather than “Scorching.”

Other variables to consider:
The books are written in first-person viewpoint, past-tense. The focus tends to be upon medieval action such as battles and court intrigue with very little emphasis upon magic.

If you like Jacqueline Carey, you’ll like -
Fantasy books that come to mind include George R. R. Martin’s series, A Song of Ice and Fire. The first book is A Game of Thrones These books, set in a made-up medieval kingdom, combine intrigue, gritty realism, and the cast of thousands found in many historical novels.

Also, there are the various Robin Hobb books such as the Farseer series and the Liveship Traders series. Her books are populated with vivid characters and much intrigue. Historical romance fans may enjoy the nautical details in the Liveship Trader books.

Readers, feel free to suggest any romance titles.

If you would like to host an “If You Like” post, please email me at Jane at dearauthor.com

***

If You Like-Julie Garwood

For as long as I can remember, Julie Garwood’s historical romances have been on my re-read shelf. I have a lengthy list of enjoyable authors, but no one captures my heart quite like Julie Garwood does. About once a year, I dust off my favorites and go through the entire list again, sinking into the story once more. There’s just something about a good Garwood historical romance that brings a goofy smile to my face, lightness to my heart, and all my available cash from my wallet (since I tend to lose my copies and have to buy them over and over again).

Julie Garwood writes two separate categories of novels. We have our historical romances (The Gift, The Prize, The Secret). In recent years, Julie has moved forward with romantic suspense-which I confess I do not read. This "If You Like’ segment will focus on Julie’s historical romances.

If I had to describe Garwood’s novels with one word, I’d probably use "charming’. Like a Hallmark card or those commercials with cute kids and puppies, you know what you’re being fed is probably a little sappy and corny, but it’s so well done that you don’t care. For me, Garwood’s books have always been spearheaded with a compelling heroine, charming interaction between the hero and heroine, and an overall "Feel Good’ sort of closure when you finish the novel. They’re not cotton candy fluff, but more like Peanut M&Ms. You promise yourself that you’re only going to eat one or two, and before you know it, you’re fishing the last one out of the bottom of the bag with your finger, and wondering if it would make you a glutton if you buy another bag (for the record, yes). Just like you wish the bag of M&Ms was endless (and calorie free), I always find myself wishing that there were more Julie Garwood historicals.

Heroine type: The Disney heroine

For me, the heroine in a Julie Garwood novel is always the stand-out, and the reason I follow the books. She always has the major story arc of the story, and never fails to win over the hearts of all she encounters. That being said, Garwood heroines also tend to have a Pollyanna-esque sort of mentality, or perhaps Disney heroine. They’re cute, they’re adorable, fluffy bunnies love them, they save the day, etc. Normally this would bother me, but the heroine is always somewhat flawed as well, or viewed as odd or eccentric by other characters, so it tends to balance out without being saccharine. Brianna in The Wedding is terribly absent-minded and constantly loses things. Judith in The Secret rides to Scotland to help deliver her best friend’s baby-and doesn’t tell anyone that she’s never actually attended a birth.

Usually in a Garwood, the heroine’s family is dead or evil, and so she must face her challenges alone-at least until the hero arrives. There’s a meta-theme that runs through her books of the lonely heroine who suddenly finds her one true defender. For me, this resonates particularly well.

Hero type: Strong-jawed man in a kilt

The heroes are always alpha and usually Scottish. What, you wanted more than that? Okay. The heroes of Julie Garwood novels are always the men with the power. Gabriel MacBain of Saving Grace is the ruler of a clan divided. The heroes of Ransom – Brodick and Ramsey – each head their own clans. The Garwood hero is the strong-jawed, silent, enduring sort of man that decides he wants the heroine right away, and then does everything in his power to keep her in his grasp. Usually the hero has some sort of issue or problem that is only brought to light through the antics of the heroine, and with her at his side, he’s either able to conquer the issue or see it in a different light. The hero is essentially the foil for the heroine, but what a foil (yum).

Plot: The Heroine’s Journey

The speed of the plot depends on the book itself. Garwood is fond of prologues, and the prologue usually sets up the heroine’s back-story. Usually things start moving right around page 50 of a Julie Garwood novel and the hero and heroine usually have sex towards the front of the book or no later than the middle.

Writing style: Conversational

I’m not a fan of "ornate’ story-telling, so Garwood’s simple, easy narrative is a joy to follow.

Dialogue: Snappy Banter

Garwood is a master of dialogue. The hero and the heroine always have a great interplay and argue brilliantly. Here’s an example from The Lion’s Lady:

“Are you angry because I”m not afraid of you?” she asked.

“No,” Lyon answered, giving her a lazy grin. “I”m not angry at all.”

“Oh, yes you are,” Christina said. “I can feel the anger inside you. And your strength. I think you might be just as strong as a lion.”

He shook his head. “You say the oddest things,” he remarked. He couldn”t seem to stop touching her. His thumb slowly brushed her full lower lip. Her softness fascinated him, beckoned him.

“I don”t mean to say odd things,” Christina said, frowning now. “It is very difficult to banter with you.” She turned her face away from him and whispered, “My Aunt Patricia doesn”t want me in your company, Lyon. If she realizes I”m outside with you, she”ll be most displeased.”

Lyon raised an eyebrow over that announcement. “She”s going to have to be displeased then, isn”t she?”

“She says you”re too shrewd,” Christina told him.

“And that is a fault?” Lyon asked, frowning.

“Too wealthy, too,” Christina added, nodding her head when he gave her an incredulous look.

“What”s wrong with being wealthy?” Lyon asked.

“You wouldn’’t be manageable.” Christina quoted her aunt”s opinion.

“Damn right.”

“See, you agree with my Aunt Patricia after all,” Christina returned.

Even when the characters aren’t passing witty zingers back and forth, a lot of the dialogue still has great emotional impact. Here’s a small clip from Honor’s Splendour

“Delenda est Carthago,” Madelyne whispered to herself, repeating the vow made so long ago by Cato, an elder of ancient times.

Duncan was surprised by Madelyne”s remark. He wondered how she”d ever come by such knowledge. “Aye, Madelyne. Like Carthage, your brother must be destroyed.”

“And do I belong to Loud…to Carthage as well?” Madelyne asked, refusing to speak her brother”s name.

“Nay, Madelyne, you don”t belong to Carthage.”

Madelyne nodded and then closed her eyes. She sagged against Duncan”s chest.

Duncan used his hand to push her chin up, forcing her to look at him again.

“You don’t belong to Louddon, Madelyne. From this moment on, you belong to me. Do you understand?”

Madelyne nodded her head.

Duncan released his hold on her when he saw how frightened he was making her. He watched her a moment longer and then slowly, aye, gently, pulled the cloak up over her face.

From her warm hiding place against him, Madelyne whispered, “I think I would rather belong to no man.”

Humor: Situational and Snappy

I love the humor in Garwood’s books. She enjoys putting the heroine in strange situations and having her work her way out of them. Since Garwood is also fond of the "extremely innocent’ and sheltered heroine, you can guess that a lot of the humor involves mistaken innuendo or innocent actions taken the wrong way.

Emotional Angst: Average

There’s definitely emotional angst and real problems touched upon, but you never feel beat down or emo after reading. I think this is in part because the angst-issues are equal with the humor of the story, and leaves you with a pleasant balance. There are deep issues hit upon (spousal abuse, blackmail, abusive family) but Garwood never makes the reader feel dragged through the wringer.

Conflict: Both Internally and Externally Driven

Garwood’s books tend to focus on the heroine’s journey, so most of the conflicts provided that deal with the over-arching story belong to her. In The Secret, the key driving force is Judith’s secret, and how it affects her relationships. In Honour’s Splendour, Madelyne’s brother is the villain and drives the plot, but there’s also an overall story arc of Madelyne growing from a timid woman to an independent, strong person, and the two plots are intertwined.

Setting: British Isles with the occasional foray outward

Julie Garwood is best known, I think, for her medieval romances. They are set anywhere from the Norman Conquest (The Prize) to King John’s reign (Saving Grace). Most of the medievals involve an English lady marrying a Scottish laird and moving to Scotland with him. Garwood has actually taken a lot of flack from historians who feel that her use of plaids and castles and such are not historically accurate, but Garwood also states that she prides herself on her accuracy and that these claims are false. "Plaids’ are mentioned for the Scots, but never tartans or kilts. Castles are mentioned, but without enough detail to point it to a specific time-frame so it never rang out as blatantly false for me (though others may argue).

Some of Garwood’s historicals are also set in Regency England (The Gift) and America (The Clayborne Brides: One Pink Rose / One White Rose / One Red Rose). Her most recent (Shadow Music) features a made-up country in Europe.

For those looking for a very detailed, grimly accurate picture of medieval life, keep moving. As a reader (and fangirl), I feel that the setting in a Garwood historical is there for ambiance more than a character on its own.

Heat level: Warm

Garwood’s love scenes are fairly detailed (except for penetration) and were probably steamy for the early 90’s, but would fall flat in comparison to today’s more erotic-leaning romances. There’s no wacky sex antics, and the most scandalous it gets is an outdoor love scene (The Bride).

Pace: Brisk

Because of the quick dialogue and the characters driving the story, the pace of a Julie Garwood romance always feels lively to me. There’s not a lot of downtime where the heroine mopes and feels sorry for herself, and there’s not a lot of internal emotional angst that goes on for chapter after chapter, dragging the story down. You never get the feeling of breakneck speed either, so I think Garwood has a very good balance.

You Would Like-

As I thought of authors to recommend, the main thing I kept coming back to was charm. I think to get the same "warm fuzzies’ feeling that a Garwood novel gives me, we need to have a good mix of character development, a plot that draws the hero and heroine together, and mix it with a good dose of adventurous fun. The authors I’ve chosen all give me the same "warm fuzzy’ feeling and I hope they would do the same for you.

Jude Deveraux’s historical romances are my closest pick for that lovely fun charm. Her romances read much like a Hershey’s kiss. Rich and sweet and brief. Deveraux loves the situational humor in her stories, and her heroines are memorable. She wrote a variety of time periods, but definitely has several medievals to choose from. My favorite pick from her backlist is The Taming, the story of a spoiled heiress who marries the dirtiest knight in England.

Lisa Kleypas is my second pick. One of my favorite authors, Kleypas tackles Regency (and post-Regency) period England with strong heroes, charming heroines, and some great plots. Overall, there’s a great sense of humor throughout her books, and her heroines are high-spirited and headstrong without going over into TSTL-land. I’d highly recommend starting with The Devil in Winter (The Wallflowers, Book 3) or It Happened One Autumn (The Wallflowers, Book 2). Read DIW for the hero, and IHOA for the bossy (but fun) heroine.

Julia Quinn is a natural pick. How can I have a list about feel-good historical romance and not include the current favorite? Julia Quinn is a master of witty dialogue and cute, charming comedy. Her books are set in Regency England, and most feature the Bridgerton family – 8 siblings out to marry their way through society. They’re great fun, and my favorite was Romancing Mister Bridgerton (Bridgerton Series, Book 4).

For an old-school pick, I’m going to go back to the 1980s and select Catherine Coulter’s impressive backlist. Like most historical authors in that time frame, Coulter wrote a mix of medieval and regency romances, along with the occasional Viking (yes, Viking!) tossed in. Coulter is known for her witty, comedic dialogue and is an old favorite of mine. While some of her books don’t hold up as well over time (If you see a passage about "cream to ease her way’, run!), she’s still on my re-read shelf for all eternity. Earth Song is my recommendation for her – a light, funny medieval about a kidnapped heroine built like a giant, and a poor-as-dirt hero.

You want hot Highlanders? Karen Marie Moning is your girl. While her books don’t go as far back in medieval Scotland (I think most are between 1300-1500) and she features time travel as a very large plot aspect, the sex is hot. Very hot. The men are even hotter. These books have a lot of charm and everyone I recommend them to loves them. Try Kiss of the Highlander (The Highlander Series, Book 4).

Betina Krahn writes very funny medievals with a light, frothy touch. I really enjoyed The Husband Test and the other accompanying books in the series. I believe Krahn writes a variety of time periods, but I’ve only read her medievals.

Teresa Medeiros is all over the page when it comes to historical periods (and a few paranormal!), but you have to include her books when you mention "charming’ stories that make you feel good. Her stories remind me of fairy tales (and that’s a high compliment). She’s concentrated lately on Regency England, but Charming the Prince remains one of my favorites.

I realize that I’m referencing a lot of books from the past twenty years, and most will be available at your used book store (so you can glom on a back-list in a hurry). Want something recent that came out? Here’s my recommendations.

I can’t have a list about light, fun books without mentioning Jo Beverley’s latest, A Lady’s Secret. I tell everyone that this is about a "nun on the run and a dandy’ and that usually sells the book. Jayne at DA loved it. I loved it. Go read it. Beverley also wrote several medievals in her past, but they tend to move towards darker themes and will probably not be a good match.

Sherry Thomas is a newer author but one that’s going to be on my auto-buy list for quite some time. Her most recent book, Delicious, isn’t what I’d call knee-slapping funny, but there was a sweet, wonderful fairy-tale quality to the entire story, and the ending made me weepy with joy. Definitely a feel-good book and definite warm fuzzies.

Laura Lee Guhrke is another that came onto my radar last year with And Then He Kissed Her. DA reviewed this one too. Her Victorians tend to be lighter and definitely a witty, fun read with a strong, heroine-centric story. I haven’t read a lot of her back-list, but I intend to.

So those are my suggestions. Any others?

Author Mary-Francis Makichen put together this wonderful contribution for us to read, appreciate, and use as a reference point for the future. Thanks Mary-Francis.

If you would like to host an If You Like piece, please email me at jane at dearauthor.com

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If You Like Allison Brennan

I can’t remember where I first heard about Allison Brennan. What I do remember is reading the The Prey and being captivated by heroine Rowan Smith-’a former FBI agent turned bestselling author. Rowan gets pulled into the search for a killer when people start turning up dead just like the victims in her book. To further complicate her life, her bodyguards turn out to be two hunky brothers who both vie for her affection.

It was probably then and there that I discovered romantic suspense. My reading before that had been straight mysteries and thrillers. I especially loved the mysteries that featured a relationship as part of the plot. When I stumbled upon Brennan’s books it was like a whole new world of reading opened up to me. I love a good book of suspense and I’m a sucker for a happy ending, so romantic suspense was a perfect fit for me.

Brennan’s books are written as a connected series. So, minor characters in one book become the main characters in the next. Also, several of the books center around the Kincaid family.

Setting (era)

Brennan’s books are contemporary. We don’t necessarily know exactly when, but references to current technology place them firmly in the here and now.

Setting (geographic)

USA, both small towns and larger cities, mainly out west. Some of the larger city settings include Los Angeles, Seattle, and San Francisco. One of her books is set in the Centennial Valley of Montana.

Heroine type

Competent professionals almost always involved in law enforcement or the justice system.

Most of Brennan’s heroines are in law enforcement, either FBI agents or police detectives. Some are former officers who get pulled back into a case or crime. Others are unconnected to law enforcement. In Killing Fear, the heroine is a former stripper and in Tempting Evil, a romance writer.

What I like about her heroines is that they are savvy, resourceful women who are good at what they do. They often carry a lot of emotional baggage but that doesn’t stop them from moving forward and doing what needs to be done. Trust seems to be a recurring issue for the heroines in most of the books. Something has happened in their past that either makes them distrust men specifically or the world in general. Part of the tension in her books is the heroine and hero building trust and working together:

From Fear No Evil

“You’re under just as much stress as I am. Perhaps more."

“I’m okay.”

He looked at her oddly. "Maybe you are, maybe you aren’t. Right now I need to find my sister. What is your program telling you?"

“It’s still working.
Frustration crossed his face and it took all of Kate’s willpower not tell him about her conversation with Trask.

"Dammit, Kate, what aren’t you telling me?"

Kate stared at him and Dillon ran a hand through his hair He was grasping at straws, trying to find his sister in the proverbial haystack. Patrick was in a coma and Lucy was going to die.

And this woman-’this renegade FBI agent-’was holding back.

Brennan’s heroines can be reckless, risk takers when it comes to solving a crime or uncovering the truth. In general they are focused, capable and determined. They are extremely loyal to their friends and own cause or sense of justice. I would say that career comes first for most of them, but once they meet up with the hero they tend to want more balance in their lives between career and family. These are women I’d want to be friends with-’after their lives are not in jeopardy, of course.

Hero Types

Like the heroines, Brennan’s male protagonists are usually either current or former members of law enforcement: FBI agents, police detectives, sheriffs and even a forensic psychiatrist.

Brennan’s heroes are professional men, but not unnecessarily aggressive or overbearing. They are men of action who don’t like to sit on the sidelines. They aren’t afraid to be in the thick of things. They are determined to solve whatever problem is on their plate, which often means hunting down a killer while keeping the heroine alive. Tough guys who care-’family, friends, and colleagues are all important to them.

Here’s an exchange between Dillon and his sister Carina from Speak No Evil.

". . .By the way I like him," said Dillon.

"Him who?. . ."

"The sheriff."

"You were just lecturing me about what he was doing hanging around the case."

"Hmm, not quite. I was just curious, mostly."

Carina playfully hit him.

"Seriously, I like him. He’s one of the good guys."

Carin shook her head. "Get out of her so I can lock up. I’ll meet you at the morgue." She didn’t know what to make of Dillon’s pronouncement, but decided not to look too deeply at it. It made her feel, well, like a teenager again when Dillon put his stamp of approval on her boyfriends.

Plot (action-oriented vs character driven): Both

Brennan writes suspense, so of course action drives the story forward. However, I think she delivers a nice balance between action and letting the reader get inside the head of her characters. Solving the crime or case moves the plot forward but if she didn’t let readers get to know the characters, I don’t think we would care about the outcome. She does, so we do.

Pace (slow/medium/fast): Fast

In all of Brennan’s books there is a ticking clock. Someone’s life is already in danger and they need to be saved, or a killer will strike again if they are not stopped. Brennan throws real obstacles in her hero and heroine’s path so they are always pushing through roadblocks or deciphering evidence.

Writing Style (simple vs. ornate): Simple

I’m not sure that simple is the best word to describe Brennan’s writing. I’d actually say straightforward. Her books clip along at a fast pace and there aren’t long passages of description. Brennan’s characters are generally trained observers so the reader gets information about setting or other characters through point of view observations.

Dialogue (lots/little/balanced): Balanced

Brennan’s books are not solely comprised of dialogue. There is a nice blend between the internal narrative of her characters and the dialogue.

From Killing Fear

It was when he and Carina met back up at the front that realized exactly what was wrong.

"Security."

"What?

"Where are the lights? Virtually every house in this neighborhood had security lights. A cat walks across the yard, and spotlights come on."

"If the power was cut, wouldn’t the alarm company have called? Checked it out?"

"Depends."

"On?"

"If the security system was activated."

Will hesitated. If he was wrong and Descario had left town or was out with his girlfriend tonight, he’d be putting the department in a bad light. Cops breaking into homes. Still, an escaped convict had threatened the former district attorney. What more probable cause did he need?

Humor (Yes/No-Serious/Some): Some

Brennan’s characters find themselves in some pretty serious and scary situations. There can’t be too much humor involved when you’re tracking down a killer or a kidnapped sister. Still, even cops and FBI agents take a break now and again so you’ll find the occasional humorous exchanges in her books.

From Speak No Evil

"Cara darling." Her mom came out of the walk-in pantry, a smile on her round face. "Let me get the fruit salad from the refrigerator. Do you want some toast?"

Carina jumped, blushed. Had she ever blushed before? She didn’t think so. But her mom had caught her thinking about sex and Carina was positive her mother could read minds.

"No, Mama, I’m fine. Really."

Her mother stared at her closely, eyes narrow. Carina put on a blank face and pushed all thoughts of Nick’s naked body from her mind. "What did you eat this morning? You don’t eat breakfast so don’t lie to me."

Food. Her mom’s favorite pastime was feeding her so maybe she hadn’t see the lust on her face. "I had coffee."

"Pshaw! Coffee!"

Emotional Angst (High/Medium/Low): Medium

Many of Brennan’s characters have emotional scars from the past. They wrestle with their emotional angst but they are reluctant to include anyone else in their inner turmoil. The angst lies just below the surface. It’s a part of the character but it doesn’t dominate the storyline.

Conflict (Externally driven/Internally driven/Both): Both

This is suspense, so the main conflict you encounter in Brennan’s books is good vs. evil. It’s usually killer, kidnapper, stalker, or child predator vs. dedicated law enforcement professional. After that you have the internal conflict of characters trying to deal with their own emotional demons. Plus, you have the hero and heroine coming to terms with their attraction for one another.

Heat Level (kisses/warm/hot/scorching): Hot

There are generally one or two sex scenes in each of Brennan’s books, and they are pretty hot.

From The Prey:

She had scars. He kissed an obvious gunshot wound that had grazed her lower right rib. It looked like a knife wound had damaged her upper arm, an old one. He kissed it. Unclasping her bra, he held her breasts in his hands and caressed them. He looked down at her face. Her eyes were closed and her mouth was open. The tears had stopped.

He never wanted to see her cry again.

He kissed one breast, pulled in the nipple to suckle, and she moaned. He repeated the attention on the other breast, enjoying the way she responded to his touch. . .

. . .Pushing those thoughts from her mind, she reached down and felt his firm buttocks. She dug in her fingers and he thrust forward. He was rigid against her and she wanted him. She kissed him, and he took her mouth deep in his, his hands never stopping, touching her all over, keeping her warm, making her hot.

Going back through Allison Brennan’s books to write this has made me realize once again why I like this writer. Great suspense, really likeable characters and excellent pacing that you can ride like a wave from start to finish.

If You Like Allison Brennan, You’ll Like. . .

To quote others who’ve come before me, this is the hard part! Trying to figure out what authors to recommend if you like Allison Brennan has made me realize that it’s not easy to quantify why we like one author over another. Sometimes the way a writer tells a story just resonates with you and it’s hard to say exactly why. Still, here some humble suggestions.

Karen Rose is another author that I love to read. Like Allison Brennan, she writes romantic suspense. In the books I’ve read, the lead characters have been in law enforcement or part of the legal system. I’ve thoroughly enjoyed I’m Watching You, Count to Ten and Die for Me. I’m still working my way through all her books, thankfully, so I still have more to read. The suspense is dramatic and there’s been a twist or two along the way that I didn’t see coming. Her characters are interesting and somehow I think she manages to make them different.

Sandra Brown is an amazing writer and storyteller. Her writing is seamless and she’s a master at suspense. If you like Allison Brennan, I would definitely check out Sandra Brown. Some of the titles that I’ve read and loved are: Fat Tuesday, Hello Darkness, The Chill Factor, White Hot, and Ricochet.

Those are just a couple of suggestions. If you like Allison Brennan, please help me out and recommend some other authors as well. Thanks!

If you would like to host an “If You Like” post, please email me at Jane at dearauthor.com

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If You Like Julia Quinn-

Once, in the far away land of Austin, Texas, there were two young romance readers. And by young, we’re talking before high school here. We know, we know – what were their mothers thinking to let them read romances so early? In their defense, these books taught the girls the cardinal rule of womanhood- when choosing between a handsome, wealthy, and open-minded duke who will still respect you in the morning and a pimply faced teenage boy whose hands have been god-knows-where, always choose the duke. Even if he only exists in the pages of a book.

No one taught us this lesson better than Julia Quinn. Though we came to her different ways, Stephanie and I have both been reading and loving JQ for over a decade now. There are other romance novelists who are near and dear to our hearts, but no one else has us lining up at bookstores on publication days or browbeating poor booksellers into searching the back room for her newest release. She’s the tops.

So where does such devotion come from? Are her heroes just to die for or her heroines uncannily sympathetic? Do her dialog and plots move at such a fast clip, that we can barely put the books down? The answer is all of the above – and more.

Julia Quinn burst onto the historical romance stage in 1995, with arguably one of the best debut novels of the decade – Splendid, the story of an American heiress who vows to never marry an Englishman and an English Duke who has sworn to never marry. Since then, she has been entertaining her readers with her uniquely consuming brand of romance that blends emotional depth and true-to-life humor. Most well known for the Bridgerton Series, a beloved octet of books about the loves and lives of a boisterous, loving, and numerous (eight siblings!) aristocratic family, Julia Quinn has published seventeen full-length novels and four novellas. After winning the prestigious RITA award two years in a row, JQ has cemented herself as not only our favorite author, but one of the most consistent and adored authors in the entire Romance community.

Setting (era and geographic): Regency England

JQ’s books span the Regency period of the British Empire (strictly designated as 1811-1820, the years George IV ruled as Prince Regent, but often encompassing that transition period between Georgian & Victorian eras) and deal mainly with the upper tiers of British Society – the aristocracy and gentry. Her settings split pretty evenly between the English countryside and the glittering world of London society, but all of her characters are featured in business as usual settings – there are very few spies popping up behind bushes (with the notable exceptions of the two former-spy heroes of her early books: To Catch an Heiress and How To Marry a Marquis) and no Napoleonic invasions threatening. These books are purely English, which is a large part of their charm. Unlike many other current full-length Regency historicals, Quinn’s characters are solidly immersed in English society and culture, with all the privileges and problems that entails.

Heroine Type: Varied class levels, but always smart and self-assured

The Quinn heroines range from vicar’s daughters to lady’s maids to the daughters of London’s elite Ton, but there is one thing they all have in common – a strong sense of self. In all seventeen books, there is not a dependent, too-stupid-to-live heroine in the bunch. Whether it’s having a life independent from her large and lively family, such as Francesca Bridgerton from When He Was Wicked, or it’s a determination to run her own estate, as with Henrietta Barrett of Minx, they all have dreams and goals of their own. What’s more, they pursue those dreams

As a whole, they are not the darlings of society, but rather the nice and funny girls we ourselves would choose as best friends. Things never come easy to the Quinn heroine, but through good humor and resourcefulness, she will weather any storm – and help her hero do the same.

It’s this wit and willingness to stick to her guns even against the man she loves, that makes Penelope Featherington of Romancing Mr. Bridgerton stand out. She not only starts out as a minor character in the first books of the Bridgerton series, but also as a wallflower – a plain, shy girl who is on the receiving end of society’s scorn. By the end of this, the fourth book, Penelope has completely come into her own – she not only deserves her happy ending, but she worked for it. Even when her hero was being, well, an idiot:

"I’m sorry," [Penelope] said, "but it’s a little difficult for me to sit here and listen to you complain that your life is nothing."

"I didn’t say that."

"You most certainly did!"

"I said I have nothing," he corrected, trying not to wince as he realized how stupid that sounded.

"You have more than anyone I know," she said, jabbing him in the shoulder. "But if you don’t realize that, then maybe you are correct-’your life is nothing."

"It’s too hard to explain," he said in a petulant manner.

"If you want a new direction in life," she said, "then for heaven’s sake just pick something out and do it. The world is your oyster, Colin. You’re young, wealthy, and you’re a man."

The brilliant thing about this scene is that it comes less than a third of the way through the book. At this point, Penelope has no idea what is going on with her and Colin, yet she still tells it like it is – risking his censure because of her honesty. Of course, Colin is not truly an idiot, just a bit misguided, so all turns out well in the end. But it’s this strength of conviction and self that makes not only Penelope shine, but all of Julia Quinn’s heroines. They may be English misses in a time when women were often little more than a possession, but they don’t let themselves become victims of their circumstances. There are no helpless waifs in these pages, only strong, caring women.

Hero Type: An aristocratic mix of Alphas & Betas

The heroes of the JQ novels nearly all come from aristocratic backgrounds. Even Jack Audley, the highwayman hero of her latest novel, The Lost Duke of Wyndham, has ties to the aristocracy. Because of this background, and you know, being men, they all have their Alpha moments. And yet, there are no cookie-cutter heroes here. They are all complicated, fundamentally good men.

There are the tortured heroes, such as Simon Bassett (The Duke and I), with such true-to-life issues, that you will be falling in love with them right along with their heroines. Then, there are the charming rogues who make every woman, including the heroine, laugh as they fall head-over-heels – like Colin Bridgerton (Romancing Mr. Bridgerton) and William Dunford (Minx).

Whichever type you prefer, you can bet that the heroes of Julia Quinn novels show just as much strength of character as their heroines. They are loyal to a fault and, when they eventually realize they’ve been blindsided by love, will stop at nothing to make their heroine happy – even if it means sacrifice on their part.

Plot (action-oriented / character-driven): Character-Driven

Julia Quinn’s greatest strength is her brilliant characterization and it is from this that she derives her plots. Like we mentioned above, there are minimal spies and super-villains in these books. The tensions and conflicts that keep the plot moving come from decisions the main characters make themselves.

Even in her latest book, The Lost Duke of Wyndham, which involves a higher degree of action than normal, the characters are constantly moving the novel forward themselves. Every twist and turn is based on who the characters are – their strengths, their weaknesses, their occasional love of robbing coaches. JQ puts characters who feel real into situations the reader can honestly imagine them getting into and we keep turning the pages to see how the devil they will get themselves out again.

Plot (slow/medium/fast): Fast

Most character-driven plots lean towards the slower end of the spectrum, but not so with Julia Quinn. I cannot even tell you how many hours of sleep I’ve lost because I couldn’t force myself to put down her latest book. There isn’t a wasted scene in any of her novels – every interaction is upping the tension and stakes more and more. Sure, no ninjas are jumping down from skylights, but people are being given the cut direct at Almack’s or having scandalous adventures through Vauxhall Gardens.

When you open a Julia Quinn novel, you are swept away. There are no other words for it. She grabs you from the first page, forcing you to care about each and every character, and doesn’t let go until the last line of the epilogue.

Dialogue (lots/little/balanced): Lots

So, say one of the aforementioned evil ninjas has trapped you in a room full of manuscripts. Your mission? Pick which one is Julia Quinn’s before the egg timer goes off – or suffer a fate worse than the cut direct.

Here’s a hint: you’ll know from the dialogue.

JQ is the queen of fast-paced dialogue. Her characters are smart and it shows in their exchanges – they have inside jokes, develop teasing relationships, and use verbal wordplay just like real people.

Through a use of sentence length manipulation (short, snappy sentences when exchanges are really fast) and individual voices, she uses dialogue as a tool throughout the book to move the plot and character arcs along.

Nowhere is this skill quite so apparent as in the Bridgerton books. There are eight siblings. That’s eight separate personalities and voices, often all in the same room. A lesser author would leave her readers reaching for the Advil bottle, but these are some of JQ’s funniest and most vivid scenes. Take this, another scene from Romancing Mr. Bridgerton:

"Biscuits are good," Hyacinth said, thrusting a plate in her direction.

"Hyacinth," Lady Bridgerton said in a vaguely disapproving voice, "do try to speak in complete sentences."

Hyacinth looked at her mother with a surprised expression. "Biscuits. Are. Good." She cocked her head to the side. "Noun. Verb. Adjective."

"Hyacinth."

Penelope could see that Lady Bridgerton was trying to look stern as she scolded her daughter, but she wasn’t quite succeeding.

"Noun. Verb. Adjective," Colin said, wiping a crumb from his grinning face. "Sentence is correct."

"If you’re barely literate," Kate retorted, reaching for a biscuit. "These are good," she said to Penelope, a sheepish smile crossing her face. "This one’s my fourth."

"I love you, Colin," Hyacinth said, ignoring Kate completely.

"Of course you do," he murmured.

Doesn’t that sound like a conversation we’ve all had at a big family dinner or gathering? Brothers and sisters sniping at each other, but always with affection behind it. If you love great family banter, Quinn is the master. Her dialogue just can’t be topped!

Humor (Yes/No-serious/some): Yes (tons!)

Humor is an integral part of a JQ book. As with everything else, the humor stems from who the characters are and their interactions with others. It shows up in the large family gatherings (with sibling banter flying), ballroom conversations between best friends, and small moments between the hero and heroine. Finding an example of this wasn’t hard, but choosing just one certainly was. If you’re a Quinn reader though, you know few scenes and romance can top the laughs from the Pall Mall game from The Viscount Who Loved Me:

Openmouthed with delight, Kate just stared for a moment as the pink ball sank into the lake. Then something rose up within her, some strange and primitive emotion, and before she knew what she was about, she was jumping about like a crazy woman, yelling, "Yes! Yes! I win!"

"You don’t win," Anthony snapped.

"Oh, it feels like I’ve won," she reveled.

Colin and Daphne, who had come dashing down the hill, skidded to a halt before them "Well done, Miss Sheffield!" Colin exclaimed. "I knew you were worthy of the mallet of death."

"Brilliant," Daphne agreed. "Absolutely brilliant."

Anthony, of course, had no choice but to cross his arms and scowl mightily.

Colin gave her a congenial pat on the back. "Are you certain you’re not a Bridgerton in disguise? You have truly lived up to the spirit of the game."

"I couldn’t have done it without you," Kate said graciously. "If you hadn’t hit his ball down the hill-"

"I had been hoping you would pick up the reins of his destruction," Colin said.

Honestly, you have seek out this scene in its entirety-though you may not want to read it on your morning subway ride. No one does family antics and hilarity quite like JQ in the Bridgerton series, so there will be laughs aplenty.

Emotional Angst (high/medium/low):High

We were torn about the emotional angst level to classify Julia Quinn’s books. On one hand, she is one of the funniest authors out there – how can a book that leaves you holding your sides from chuckling be angsty? Then again, I challenge anyone to read The Duke and I or The Viscount Who Loved Me without bawling. The heroes in both are charming, wonderful men, but each has dark, deep-running issue that has them sabotaging their own happiness over and over again. What makes the impact so flooring of both these, and other Quinn novels, is that the issues her characters have are true to life – children stutter and are shunned for it as Simon (the Duke of TDAI) was, people lose parents in small, torturous ways as Anthony (Viscount Bridgerton of TVWLM) did and sometimes the only way to overcome, or even accept, these hurts is with the help and compassion of someone you love. This real life parallel is what hits Julia Quinn readers so hard. The simple, raw pain of the characters that we can completely relate to is what speaks to us, as with Simon in this scene from The Duke And I after an argument with Daphne results in his greatest fear – not being able to control his speech again:

"Y-y-you-’"he finally managed.

Daphne stared at him in horror. "Simon?" she whispered.

He didn’t want this. He didn’t want her looking at him like he was some sort of freak. Oh God, Oh God, he felt seven years old again. He couldn’t speak. He couldn’t make his mouth work. He was lost.

Daphne’s face filled with concern. Unwanted, pitying concern. "Are you all right?" she whispered. "Can you breathe?"

"D-d-d-d-d-’" It was a far cry from don’t pity me, but it was all he could do. He could feel his father’s mocking presence, squeezing at his throat, choking on his tongue.

"Simon?" Daphne said, hurrying to his side. Her voice grew panicked. "Simon, say something!"

She reached out to touch his arm, but he threw her off. "Don’t touch me!" he exploded.

She shrank back. "I guess there are still some things you can say," she said in a small, sad voice.

This is the same book in which the two main characters hilariously try to dodge one of Daphne’s suitors – a scene that has left many a reader laughing. It is precisely that laughter that makes moments like these so gut-wrenching, for these are characters we have laughed and smiled with, so to see them hurt makes it 1000 times more impactful.

Conflict (externally driven/internally driven/both): Internally driven

Like everything else, the conflict in Julia Quinn novels comes directly from the characters. It is their own faults and desires that are often get in the way of their happily ever afters. One of the best examples of this are the hero and heroine from On The Way To The Wedding (which, incidentally, is the ONLY romance novel Stephanie has ever cried in, so gripping is the emotional conflict) – every action each takes is a direct result of their internal motivations: Gregory, the youngest of the Bridgerton clan, has always believed in true love and that he would know it at once, which is why he overlooks his growing relationship with our heroine, Lucy, as he believes himself in love with her beautiful best friend, Hermione. Lucy, on the other hand, is where internally driven conflict is most detrimental to the pair’s relationship – she comes to love Gregory, but even when he finally wakes up from his Hermione-induced stupor, she can’t bring herself to marry him, out of loyalty to her family and their happiness. So, even though she loves him, the entire book she is warring with her own convictions and responsibilities – which, naturally, makes their eventual HEA so moving.

Heat level: (kisses/warm/hot/scorching): Medium

The heat in Julia Quinn novel is definitely palpable and the sexual tension sky-high, but it doesn’t border on the erotica category of scorching or hot. Love scenes in JQ’s books are touching and a huge relief, after pages and pages of wanting these two people to be together, but they are more filled with humor and reality than scorching images. Which is not to say that the scenes aren’t fiery, how could they not be with the proud, charming Quinn heroes, but with only one or two true love scenes in each book, it’s the build-up and dying for release that makes these eventual consummations so effective.

If You Like Julia Quinn, You’ll Like-

If you’re looking for the humor of Julia Quinn in another historical, we’d highly recommend the historical romances of Patricia Cabot. This is actually the pseudonym of Young Adult queen, Meg Cabot, but she brings the same witty and warm tone to traditional romance that she is famous for in YA. Because of her overwhelming success in that genre, she’s stopped writing adult romance for the moment, but if you can get a copy of anything from her impressive historical backlist, you won’t be sorry – her characters are charming and their banter and laughter will keep the pages flying.

Similarly, Claudia Dain’s most recent releases, The Courtesan’s Daughter (The Courtesan Series) and The Courtesan’s Secret (The Courtesan Series), also mirror the light, witty humor that JQ does so splendidly. These two romances are also great for readers who want the fast-paced aspect of JQ’s novels – the events in both take place over only a few days, with complications and tension rising the whole way through. Though, be warned, once you pick one up, you won’t be able to stop reading-so you may want to clear your schedule!

If you’re looking for the character-depth and emotional impact similar to JQ’s The Duke and I or The Viscount Who Loved Me (with two of Quinn’s more tortured heroes), but don’t want to sacrifice the warmth, look into the backlists of Julie Anne Long and Julianne Maclean. These are two slightly lesser known historical authors, but they consistently deliver stellar books. While you’re waiting for Mr. Cavendish, I Presume, they can certainly distract you with books using more externally driven plots than JQ, but that still include the shading and detail of great characters – at the end of a book by either author, you may find yourself drying your eyes and smiling at the same time. Our personal favorites are: Long’s To Love a Thief (Warner Forever) and Maclean’s Love According to Lily.

Finally, if you want all the details of JQ – totally lovable characters, quick pacing, snappy dialogue, emotional depth, and most especially the humor – but don’t care too much whether it’s a historical or not, please, please, please go pick up a Susan Elizabeth Phillips novel. Yes, she’s a contemporary author, but her sense of emotion and biting humor are pretty much only rivaled by the great Ms. Quinn. Both authors are experts at having you laughing and crying in the same book – all because you love their characters so much that you can fully believe them and their situations as entirely real. If you’re a die-hard historical reader, but have been looking to break into Contemporary, you won’t be disappointed, we promise!

So, fellow JQ fans, what are some books you would recommend while waiting for her next release? Is there a debut author whom we’ve just got to try, or even an outside-genre pick who makes you think of the wonderful Ms. Quinn? We can’t wait to read your suggestions!

Julia Spencer-Fleming’s latest release, I Shall Not Want, is the 6th book in her Clare Fergusson / Russ Van Alstyne mystery series.

If you would like to host an “If You Like” post, please email me at Jane at dearauthor.com

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If you like Julia Spencer-Fleming -

Julia Spencer-Fleming writes the Clare Fergusson / Russ Van Alstyne mystery series, which has strong crossover appeal to fans of romance and romantic suspense. To see why, please read on and rest assured that I don’t include any plot-spoilers.

I first ran across this series when I checked a list of mystery award-winners for reading suggestions. In the Bleak Midwinter won both an Agatha Award and a Dilys Award. The Agatha is for best cozy-mystery, a category that involves an amateur sleuth. The Dilys is given by independent bookstores to their favorite mystery. When I found out the heroine is an Episcopal priest, I had to read the books. I love characters who hold unusual jobs.

Now I’ve read all six books, and await the seventh. Here are my three favorites:

1. All Mortal Flesh (Book 5). Police procedural details, suspense, workplace politics, and huge changes in the characters’ lives. It doesn’t get much better than this.

2. In the Bleak Midwinter (Book 1). A very close second. This complex mystery keeps you guessing. Plus it’s a treat seeing the hero and heroine meet and experience the first glimmerings of their mutual attraction.

3. To Darkness and to Death (Book 4). Some readers lament that the increase in minor-characters’ viewpoints results in less interaction between hero and heroine. I find the story fast-moving and the multiple plotlines intriguing.

Setting (era): Contemporary

This is the modern world filled with rapid change, loneliness, and random violence.

Setting (geographic): Small New England town

Millers Kill is a fictional location in New York state. The name derives from the Dutch settlers: “kill” means river. It’s a place of harsh lingering winters, rural Yankee accents, and conservative morals. Saint Alban’s is one of the four churches in town, and the chief of police supervises eight cops plus a dispatcher.

Heroine type: Impulsive and Idealistic

Clare Fergusson is the thirtyish heroine, an Episcopal priest newly assigned to Millers Kill. Just so you know: in ritual and appearance, an Episcopal service preserves much of the beauty of a Catholic mass. The Episcopal Church itself is so liberal that it accepts female priests and gay priests and no longer requires the vow of celibacy.

However, Clare’s specific diocese is conservative. In A Fountain Filled with Blood she gets in trouble for performing a commitment ceremony for two gay men. Her ecclesiastical superiors want her to settle down as soon as possible with a respectable husband and children. As a new priest, she still questions her vocation. Previously, she flew helicopters as an army captain during Desert Storm.

She’s impulsive, idealistic, compassionate, and action-oriented. An adrenaline junkie, she loves dangerous situations and fast sports cars. Her keen intelligence comes from her advanced education, her profession which emphasizes rational and metaphoric thought, and her tendency towards flashes of insight. She’s not movie-star beautiful but striking like a vibrant character-actress. Here is the hero’s first impression of her from page 3 of In the Bleak Midwinter:

“She was plain, no makeup and nondescript dark blond hair scarped back in a ponytail. She had that overbred look he associated with rich women from the north side of town: high cheekbones and a long thin nose that was perfect for looking down at folks – Her eyes were the only exceptional thing about her, true hazel, like granite seen under green water.”

Hero type: Rugged and Reserved

Russ Van Alstyne is the fiftyish hero and the town’s chief of police. Like Clare, he is an army combat veteran; he served with the military police. Sometimes he and Clare become conscious of their age-difference: for example, she realizes that she was a little kid back when he was an eighteen year-old soldier in Vietnam.

He is rugged, reserved, taciturn, shrewd, cynical, blunt, and a little pessimistic. A recovering alcoholic, he has settled down to a quiet life in his old home town. He enjoys wood-working and home repair and loves his gorgeous wife Linda.

With Linda, he experiences that rough patch in a marriage when two people start growing apart but can still rekindle their love. He’s a cop who handles the grim realities of his profession by keeping everything to himself. Linda is an entrepreneur struggling with the time-consuming responsibilities of her custom-curtain business. Needing a sympathetic ear, Russ begins confiding in Clare. She reciprocates because he’s her first friend in town. Emotional intimacy ensues.

We glimpse Russ through action or others’ brief impressions. He fiddles with his glasses. Clare first notices his height (well over six feet tall) and big hands. The vivacious church-secretary Lois remarks on page 84 of In the Bleak Midwinter:

“He’s really quite attractive, don’t you think? – All that tousled hair and those sexy lines at the corners of his eyes.”

Later, Clare adds on page 161 of In the Bleak Midwinter:

“He had a fit, outdoors look to him, still slightly tan from last summer, his dark brown hair picked out with gold and copper. She’d have to disagree with Lois, his nose was too big and his lips were too nonexistent to call him handsome. But he looked like a man who had lived comfortably within his skin for the past forty-odd years – His eyes were Fourth-of-July blue, high and bright with the snap of a flag in the wind. But behind them she could see something moving, like pages turning in a book no one was allowed to read.”

Plot: (action-oriented / character-driven): Both

The books are action-oriented mysteries. A crime happens, which tests the hero and heroine through its aftermath and solving. Russ, of course, is the chief of police. But Clare gets believably involved: as a priest, she must comfort and guide the victims. The action-oriented plots are as follows:

Book 1 – In the Bleak Midwinter: Someone abandons a baby on the doorstep of Clare’s church. This opens a police investigation and then leads to a murder.

Book 2 – A Fountain Filled with Blood: Hate-crimes lead to the murder of a gay man. A controversial building project threatens to divide the town.

Book 3 – Out of the Deep I Cry: A hated doctor disappears under sinister circumstances that may connect to a decades-old secret tragedy.

Book 4 – To Darkness and to Death: In a single day, the town mobilizes all resources to find the missing sister of a reclusive rich man.

Book 5 – All Mortal Flesh: When someone close to Russ gets murdered, he is the prime suspect. Meanwhile, he and Clare each get micro-managed by suspicious superiors.

Book 6 – I Shall Not Want: A serial killer may be preying on undocumented migrant workers.

The series arc is character-driven. What ties the books together is the evolving relationship between hero and heroine. Clare and Russ find that they are soul mates. But they can’t just get rid of his wife or have an affair. Each would rather rip out his own heart than selfishly pursue what he wants at the cost of wrecking other people’s lives. Russ still loves his wife, but he’s coming to love Clare even more. Clare’s ecclesiastical superiors may force her to choose between the priesthood and Russ.

Plot (slow/fast): Fast.

Especially To Darkness and to Death, which happens during a single day.

Writing style (simple v. ornate): Simple

The simple writing style compliments the close third-person viewpoint. Clare is straightforward as is Russ; the minor characters are all unpretentious Yankees not given to excessive metaphor.

By contrast, the plotting is daring and ornate. The author doesn’t always serve up the same type of book. In the Bleak Midwinter is a classic mystery, offering a whodunit puzzle. Out of the Deep I Cry experiments with parallel plots separated in time. To Darkness and Death manages to streamline many plot-threads and viewpoints into action that spans a single day. All Mortal Flesh unfolds with the gritty realism of a police procedural.

Dialogue (lots v. little): Medium

We get enough for our leads to question the witnesses and gather the information they need to solve the crimes. Meanwhile Clare and Russ tell each other secrets, including the truth about his involvement in the Vietnam War. Minor characters such as insecure teenagers, feisty dispatchers, and cranky sextons establish their personalities with well-chosen expressions. We readers learn about the Episcopal Church and get some laughs as Clare struggles with the mismatched members of the vestry board to decide church policy. Much of the books’ humor comes from dialogue.

Humor (Yes/No-serious/some): Some

The emotional angst precludes too much comedy. But we get flashes of wry humor. Much of it centers on people’s different ways of seeing things. To Russ’s weary amusement, Clare expresses a wide-eyed fascination with police work and cop-show phrases such as “legwork.” The conservative members of Clare’s congregation gawk at the military memorabilia in her office, including a coffee mug printed with the logo “Death from the Sky!” The crusty sexton, unfamiliar with female priests, addresses Clare as “Father.”

Clare and Russ enjoy verbal sparring with worthy opponents like the unflappable dispatcher, Harlene. The snappy dialogue reaches inspired heights whenever Clare’s intermittent suitor Hugh Parteger arrives. A charming British investor, he LOATHES Russ. It’s entirely mutual – as their verbal dueling confirms.

Emotional Angst (high/medium/low): High

Tremendous emotional angst: Forbidden love! Guilt! His alcoholism. Her grief over her long-dead sister. His harrowing experiences in the Vietnam War. Her uncertainty about her vocation. And more that I must keep secret to avoid plot-spoilers.

Conflict (externally driven/internally driven/both): Both

The external conflict in each book is the crime to be solved. The internal conflict centers upon the forbidden love between hero and heroine.

Heat level: (kisses/warm/hot/scorching): Kisses to Warm

Books 1 through 5 sustain a high level of sexual tension but not much physical contact. Book 6 I Shall Not Want introduces another couple who have a brief, tasteful, yet lusty sex scene. Plus, it allows Russ and Clare two scenes of passionate kissing as on page 126 of I Shall Not Want:

“He dug his fingers into her hair and pulled her to him, kissing her, deep hungry kisses that tasted of chocolate and peppermint. She moaned in the back of her throat and wrestled her hands free from around his waist to twine them about his neck. He bumped against the kitchen table and bent her back, kissing her, kissing her, her mouth and her jaw and the pulse trip-hammering in her throat. He felt something huge and powerful racing through him, sparking every nerve end, blanking out everything in the world except Clare, the taste of her, the sound of her, panting and gasping , the feel of her, oh, God, better than anything he had ever fantasized, as he yanked open her pajama top and pushed it aside and touched her, touched her, touched her. She cried out, and he shut her mouth with more kisses, wet and dark -”

Other variables to consider:

Books are written in third-person viewpoint, past-tense. Violence is mild to medium. These are American books, but not excessively peppered with slang.

If you like Julia Spencer-Fleming, you’ll like -

Priests under pressure? Get The Wonder Worker by Susan Howatch. An impoverished Englishwoman comes between a charismatic Anglican priest and his wife. The priest, who has powerful psychic abilities, struggles with the temptation to control people. Part of the Starbridge series, it balances romance and suspense.

Quirky character-interaction? Try Still Life by Louise Penny. When a beloved amateur artist gets murdered in a tiny Canadian town, Inspector Gimache from the Sûreté du Québec investigates. A compassionate man, he must manage the competing agendas of his volatile subordinates, and deal with the local eccentrics (that would be everybody). Two standout characters are husband-and-wife artists whose individual insecurity is matched only by their love for one another. Later in the Inspector Gimache series, they experience intense jealousy of one another and succumb to manipulative behavior. Penny does a brilliant job with the tensions between people who can’t stand each other and yet have to work together.

Tough heroine from a military background? Read the Evan Delaney series by Meg Gardiner about a writer who lives in Santa Barbara, California. A former lawyer, Evan comes from a family of Navy fighter pilots, and has a complicated relationship with her boyfriend, another lawyer. The author, a former lawyer herself, provides convincing professional details. In China Lake, Evan’s nephew and brother get targeted by a fanatical religious cult. This is an outstanding mystery, and it even includes a steamy sex scene!

Unrequited or forbidden love? Try the Patrick Kenzie/Angela Gennaro mystery series by Dennis Lehane, but be warned: the violence is extreme. Patrick and Angela are terrific characters: tough, funny, sardonic, and smart. Childhood friends from working-class Boston, they become partners in a private investigation business. Our first-person narrator Patrick has always been hopelessly in love with Angela. In the first book, A Drink Before the War, she’s married to someone else. By the fourth book, the great Gone Baby Gone, Patrick and Angela get torn apart by their uncompromisingly opposing views on how to handle a case. I read the book in amazement, thinking, “My God, they’re both right!”

Readers, here is where I need help in the comments because I’m pathetically unfamiliar with romance titles. For someone who likes Julia Spencer-Fleming, what would you recommend?

Who would you recommend?