April 16, 2025 • 33 mins
Kat Sterling joins the podcast to sample WINNIE WEST HAS AN AGENDA. She shares the inspiration behind setting her historical romances in early 20th century Seattle and the inspirations behind Kat's writing and the balance between authenticity and fiction, and what makes a compelling hero.
00:00 Welcome to the Historical Romance Sampler Podcast
01:07 Reading from 'Winnie West Has an Agenda'
14:11 Interview with Kat Sterling: Inspiration and Historical Context
27:31 Love It or Leave It: Fun Game Segment
32:48 Closing Remarks and Where to Find Kat Sterling's Books
Find out more about Kat Sterling at katsterlingbooks.com
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:05):
Welcome to the historicalromance sampler podcast.
I'm your host, Katherine Grant, andeach week I introduce you to another
amazing historical romance author.
My guest reads a little sampleof their work, and then we move
into a free ranging interview.
If you like these episodes, don'tforget to subscribe to the historical
(00:26):
romance sampler, wherever youlisten to podcasts and follow us
on Instagram, TikTok, and YouTube.
Now let's get into this week's episode.
I am super excited to bejoined today by Kat Sterling.
Kat writes historical romance featuringrebellious heroines and the swoon worthy
heroes who challenge and support them.
(00:48):
From the American South,she currently lives with her
brilliant husband in Ireland.
When she's not writing, sheenjoys nature walks, playing video
games, and drinks with friends.
Kat, I'm really excited.
Thanks for joining!
Thank you so much for having me.
Yeah, so what are youreading for us today?
I'll be reading an excerptfrom Winnie West Has an Agenda.
(01:10):
This is the first book in my series,The Seattle Suffrage Society.
So just to give you a little contextof what's going on, this is set in the
American West in Seattle, Washington.
and the year 1908.
So I'm going to be readinga part from chapter 5.
So we've kind of already met the maincharacters, Winnie West and Mack Donnelly.
(01:34):
So in this scene some of the suffragistsare already doing petitions and
they're gathered in a square whenthey have a little kerfuffle with
some little boys who throw mud.
Winnie and her friendduck behind an automobile.
And unfortunately, that automobilegets damaged, and guess who
might own that automobile?
(01:54):
So, here's that scene.
Alright.
"What in God's name happened tomy automobile?" A man shouted
from farther down the sidewalk,and their heads swiveled as one.
Even from a distance, Winnierecognized Mack Donnelly's lanky
form pressing through the crowd.
Satan's handbasket.
(02:15):
She ducked behind the bumper oncemore and lowered the brim of her hat.
When her friend stared at her inbewilderment, she hissed, "Hide!
I don't want to speak with him." "I'mafraid it's too late for that." Rhoda
peered down the sidewalk with interest.
"Dare I ask who he is?" Clem asked.
"My editor."
"Why are you hiding from him?" "And notvery well, I might add." "He never has
(02:38):
a pleasant word to say," she groaned.
"And he's forever staring into spacelike he's some great thinker. Minus the
great thoughts, mind you. Honestly, Ihave no idea how he became an editor."
The truth was, his rejection still stung.
But she wasn't ready toadmit that to the girls.
And she certainly couldn't tellthem that she'd been obsessing
(02:58):
over the dimple that had finallyrevealed itself in his right cheek.
It was much easier to focus on his faults.
"I can hear you, Bobcat."Winnie gaped at her friends in
horror, but they were no help.
Their eyes glued to the manon the sidewalk before them.
She eased herself to her feet with asmuch composure as she could muster.
But the effect was lost when hisgaze dropped to her soiled front,
(03:22):
down to her dirtied hands, andback to the damaged windshield.
"It's not what you think." Shecrossed her arms over her chest
and stepped into his path.
Based on her few interactions with Mr.
Donnelly, she didn't have muchhope he would be reasonable.
If that meant she had to gotoe to toe with him, so be it.
" We were conducting a petition when-""This is a suffrage event?" "So what?"
(03:45):
"You throw dirt at innocent men'scars in the name of equality?" His
scowl was strong enough to bleachher mud stain, yet Winnie found
herself leaning forward in challenge.
He was so close she could see the dilatedpupils and his deep blue eyes, and
every cell in her body fluttered awake.
What was it about this man thatsimultaneously made her want to
(04:07):
strangle him and crush her mouth to his?
She was both horrified and captivatedby the direction of her thoughts.
Kiss the enemy?
Had she gone delusionalfrom lack of water?
Rhoda snorted behind her, divertingMr. Donnelly's intense gaze and giving
Winnie a moment to compose herself.
"As if anyone related to the McIntyrefamily could claim to be innocent."
(04:31):
Mack's cheeks flushed with indignation,and Winnie's curiosity rocketed.
How did they know each other?
"Miss Carlyle, isn't it? My regardsto your father." Rhoda gave a
mocking bow, and in the awkwardsilence that followed, Mack's
attention returned to his automobile.
"Wait, it's not just mud. My windshieldis cracked." His thunderous expression
(04:54):
should have repelled her, but shefound herself wanting to place a
calming hand to his cheek, as if hertouch would magically fix everything.
Seriously, what was wrong with her?
"We were harassed by some youngboys," Winnie said, wrangling her
absurd thoughts under control.
"They're the ones who threw thedirt." He spread his arms wide
and turned in a full circle.
(05:16):
"And where are these mysteriousboys now?" Winnie's nostrils flared,
the few remaining vestiges ofattraction vanishing in an instant.
No man called her a liar.
"Are you suggesting I'm inventinga tale?" "All I know is that you're
the only one covered in mud andstanding beside my damaged automobile.
If the shoe fits." "It might shockyou to know that the Seattle Suffrage
(05:40):
Society has loftier goals than damagingyour automobile, sir." "They ran away
after they dirtied Winnie," Olive said.
The squeak in her shy friend'svoice heightened her anger.
But what more could be said?
It was clear Mack had already madeup his mind, and as she had learned
countless times throughout her life,a woman's word always came second.
(06:04):
At eight years old, when Tommy Whitakerlet her take the punishment for spilling
ink all over the classroom floor.
At sixteen, when she witnesseda robbery, but the male thief
convinced everyone she was a liar.
At twenty one, mere months intoher marriage, when her late
husband decided she should stopworking despite her wishes.
It was just another itemon a long list of insults.
(06:27):
She wouldn't waste another breath.
Jaw clenched so tight it hurt,she whipped open her handbag and
rummaged inside for her coin purse.
Thrusting as many coins as she could intoMack's hand, she said, "Here, I'll pay
for the boys damage to your windshield."
He gave the money in his hand acursory glance, and shook his head.
(06:49):
"This is something that can be resolvedwith your husband. I won't take your
pin money." Her face grew hot and herchest tightened to a painful degree.
That was all the money shehad until the next payday.
And he dismissed it like it was nothing.
Maybe it was nothing, but shewould be damned before she let him
humiliate her in front of her friends.
(07:10):
"There is no pin money, I manage my ownaccounts," she said between gritted teeth.
"And my husband's been dead for twoyears. So good luck getting any money
out of him." If the silence had beenawkward before, now it was excruciating.
Mack's mouth opened andclosed, but nothing came out.
Her friends moved closer in silentsupport, giving her the strength to raise
(07:33):
her chin and meet Mack's gaze head on.
The movement shook him from hisreverie, and he said solemnly, "Mrs.
West, my words were unconscionable.""Agreed," Rhoda said icily.
"Instead of throwing accusations, Ishould have asked after your well being. A
refined woman like yourself deserves sucha courtesy, and I fell short." His throat
(07:55):
bobbed, but he didn't break eye contact.
"And since you've never given mereason to doubt your word, I've
done you a grave disservice byaccusing you of a malicious act.
Please accept my apology."The flames of Winnie's outrage
reduced to glowing embers.
Able to be rekindled if necessary,yet soothed by Max's sincerity.
(08:16):
How had he known exactly whatwould get through to her?
Part of her suspected it was aploy to save face, but another
part wanted to crow in triumph.
At last, a man had admittedto his unfair treatment.
Then his gloved fingerswere wrapping around hers,
enclosing the coins in her palm.
She sucked in a breath as thegentle touch sent an electric
(08:38):
pulse of desire between her thighs.
She almost laughed at her body's lackof judgment, but it meant nothing.
Anger and lust were merelytwo sides of the same coin.
"I won't take your money," he said softly.
"Fine by me." She pulled herhand free and dropped the coins
back into her change purse.
The task returned her senses andshe looked up with renewed boldness.
(09:02):
"I accept your apology, Mr. Donnelly,which could only be made sweeter by
a generous donation to our cause.""You can send it to Longfellow House,"
clem chimed in helpfully.
Something like admirationflicked across his face.
"You'll receive my donation in thenext few days, miss." Winnie quickly
performed the introductions, andthough Rhoda's greeting included an
(09:26):
ill concealed glare, his apology hadseemingly worked on them as well.
"And will you allow meto sign your petition?"
Mack asked.
Winnie couldn't contain her surprise.
"You support our cause?" "Ifall suffragists are as earnest
and resolved as you are, I wouldbe a fool to stand against it."
Olive let out a low, dreamy sigh,and Winnie fought to maintain a
(09:49):
serene expression as she removedthe petition from the basket.
Once it was signed, Mack handedit back to her, his finger grazing
hers as the pen exchanged hands.
For the second time in a span of moments,a spark of awareness shot through her.
Was she so desperate for affection thatthe smallest touch could affect her so?
(10:10):
Or was it because Max stared at herwith an intent expression, as if she
were the only woman in the square?
Rhoda came to her rescue once more,saying, "You've earned the pleasure
of living another day, Mr. Donnelly."A wry grin tugged at his lips,
finally revealing an adorable dimple.
"I'm pleased to hear it, Ms. Carlisle.
(10:31):
Now, ladies, if you'll excuseme, I see my friend has arrived.
He'll help me sort out thismess." He replaced his hat, and
then, in a softer tone that madeher neck prickle, he said, "Mrs.
West, I'll see you at the office."She had to clear her throat
twice before she could speak.
"Yes, you will.
I'll have a very interesting list ofideas to show you." "I'm sure you will,
(10:54):
but as you already know, it takes alot to impress me." Winnie waited for
him to walk toward a burly, dark hairedman before expelling a long sigh.
Bracing herself, she gave herfriends an embarrassed smile.
"He's terribly handsome," Olive said.
"Is he?" Rhoda snorted.
(11:14):
"You're blushing, dear." "Over that ogre?
Never!" Her friends grinned.
"We shouldn't tease you," Clem said.
"Thank you." "Ah, but you wereeyeing him like a piece of cake
to be devoured," Rhoda added.
Olive nodded, giggling.
"Doubtful." Her ears heatedagain, and her mind turned to
what Rhoda had said earlier.
(11:36):
"What did you mean about Mr. Donnelly'sfamily not being able to claim a
title of innocence?" Rhoda shrugged.
" I've only heard snippets at parties.
Our families run in the sameset and people love to gossip.
I've heard a thing or two about hisuncle being in the pocket of some
questionable politicians." "Buthave you heard anything about Mr.
Donnelly?" Rhoda pursedher lips and thought.
(11:58):
"No, nothing about him." Therelief she felt surprised her.
It shouldn't matter to her if hewas the owner of a gambling den,
so long as he approved her ideas.
And yet, she was happy to know thatat least his reputation was solid.
"Thanks.
Now, I think it's time for that cake.
A real cake." She pointed afinger at her mischievous friend.
(12:20):
"Not a man cake." "Well, shoot, nowI want a man cake," Rhoda teased.
Clem laughed.
"Come on, ladies, it's starting todrizzle and Winnie has already suffered
enough." As they made their way outof the busy plaza, the first raindrops
trickling down, Winnie made a vow.
If MackDonnelly was willing to signtheir petition, that meant he was
(12:41):
on the cusp of supporting her ideas.
She was about to become themost annoying fly in the office.
Oh, wow.
What a great ending to that.
She's like rubbing her hands.
I love a woman who resolvesto be more annoying.
(13:04):
That was a fantastic scene.
I have lots of questions, butfirst we're going to take a
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(14:11):
All right.
Well, I am back with KatSterling, who just read a sample
from Winnie West Has an Agenda.
And my first question for you ishow, what about the era of the turn
of the 20th century, American West,specifically Seattle, drew you
to write though in that setting?
(14:32):
I know it's super randomat first glance, right?
It's definitely not the typical settingfor historical romance right now.
Not to say there's not, you know,other great American romances, but
it all comes down to the theme.
So I knew that I wantedto write about suffrage.
(14:53):
I loved Evie Dunmore's books and,you know, it was the era of social
justice and I thought, well, whatinterests me and it was women's rights.
And I thought, I want to do suffrageand I want to do American suffrage.
So it was really just a search ofwhat setting and time most excited me.
And I decided that nationalsuffrage, which was passed in, you
(15:16):
know, 1920, was a bit too late.
I didn't really want to write thatfar ahead, and so I was like, okay,
well what was going on in the 1800s?
What was with, you know, state suffrage?
And that's how I learned thatonly four states had passed
suffrage by I think 1896.
And then an era called the doldrumsstarted where there was 14 years that
(15:39):
passed and no suffrage was passedin any state in the United States.
But things were kicking up on the westcoast and when Washington State passed
suffrage in 1910 It was kind of a dominoeffect for a lot of the next states.
So I was like, well, that's a reallycool premise, you know like kick starting
the movement again having a victoryand then the more I looked at Seattle.
(16:03):
I was like, This history is fascinating.
I mean, it was a, you know,the city was exploding at that
point, just so much movement.
I think between 1900 and1910, the population grew, I
think I wrote this down, 194%.
Just Seattle.
Wow.
So, when I started reading about it, andI'd visited Seattle many times because my
(16:27):
sister lived there for a decade I just,I just knew that it was the right place.
I got excited about it, and I thought,there's so many stories here that
haven't been told in a historicalromance setting, and I'm gonna do it.
Yeah.
So yeah, that's how I ended up in Seattle.
That's amazing.
And something that stands outto me whenever we're at, we're
(16:51):
encountering the suffrage movement.
And it, it came out in the scenetoo, where she said, kiss the enemy
is that like the suffragists werevery aware of how marriage was an
institution that oppressed them.
So I think that must be a reallyinteresting tension to play with.
How do you think about that asyou're crafting your romances?
(17:13):
Yeah, I mean, I think that especiallycame out in Winnie's story because she
is a widow and she was in a marriagewhere she was not supported in terms
of wanting to be a professional,wanting to further her education.
So now that she is widowed, she'sreclaiming her life and she's not
looking for any man who, at all,really, and especially any man who
(17:34):
doesn't support her newfound freedom.
So there's definitely a tug and pull ofthat throughout this book that kind of
how do I live for me while still embracingthat I deserve love and I'm, you know,
I can find happiness in this new place.
So yeah, it's a very interestingconcept because I also don't really
(17:54):
want to write misogynistic heroes.
It's just not my cup of tea.
I don't mind if they make, youknow, the occasional foot in mouth
kind of statement, but I just, Ididn't want to convert anybody.
I wanted there to be reasons forwhat they were doing, but overall
for them to support a woman's rightto vote, no matter their background,
no matter their circumstance.
(18:15):
So all of the heroes will have thatkind of attitude in this series, yeah.
Have you found examples of menin the historical record who
supported the right to vote?
Yeah.
Yes.
Yes.
So for example, with the Seattle movement,there were plenty of examples of men
going to speak for women in like kindof male led areas like different labor
(18:39):
groups or in government, et cetera.
So there are a lot of accountsof men working beside women.
And actually in my book, in Winnie West,she goes to a suffrage kind of conference,
if you will out in the countryside.
And I do make sure to show thatthere were men attending these talks
as well, that they were interestedin supporting the women as well.
(19:01):
I like that.
I mean, so often we get pushback when wewrite heroines who are too liberal minded,
but I also sometimes feel in myself givingpushback, but also I think seeing pushback
of like, well, men wouldn't be thinkingthat way because why would they be?
So it's nice to, to kind ofknow that it's not just wishful
(19:22):
thinking that these heroes exist.
Oh, not at all.
And I do try to base a lot, if not allof the stories I write, in real history.
You know, obviously we can push the,the boundaries a little bit or color
within the lines kind of thing.
But I, I've done such a deep diveinto what went on at that time.
(19:42):
And I have so many examples ofthings that really happened either in
Washington or in a different state.
And then from there, it's easy toconcoct a fictional scene or setting.
Yeah.
So do you tend to do your researchbefore you start doing most of
your writing or is it kind ofintegrated throughout your process?
(20:02):
I think I do an initial deepdive of whatever is interesting
me at the moment because I amheavily influenced by what I find.
And I find amazing gems all the time.
So just as another example, myChristmas novella, Snowed In with
the Scoundrel it's based on a Seattlefemale photographer from 1909, you
(20:25):
know, and I, when I found that, I waslike, Oh my gosh, like, I want to write.
And my other novella is byopening day is set around the
kind of World's Fair in Seattle.
And again, that was based on somany of the things that actually
happened at the World's Fair.
And so when I find these things inhistory, they just shout to me like,
(20:47):
this is your story include this.
And so I love that, but at the sametime, it can be, you know, a double
edged sword, because I'm like, but Ihaven't found the perfect detail, and
then, you know, four days later, I'mstill reading through research, so
I'm trying to get better at saying,it's okay for you to invent something.
This is fiction.
(21:09):
Right.
One of the things that strikes mespecifically about how much you
weave in real things that happened.
It reminds me of books I read beforeI got to the historical romance genre.
When I was a young reader, I was readinglike Anne Rinaldi and also like the Royal
Diaries and the Dear America series.
And those were fictional.
(21:30):
Well, the Royal Diaries were real people,but for the most part, those, those books
were all like fictional people interactingwith actual history that happened.
And it was partly toeducate the young readers.
So I'm, I'm always curious, like,does, do you also have influences from
outside the historical romance genre?
Does the American Dolls series count?
(21:51):
Yes!
I was actually working ona theory the other day.
I was like, I wonder for, like, ourgeneration, how much of us started, our
love started with the American Girl Dolls.
Oh yeah, I loved those and I feltlike they really took me around the
world and they were really good forintroducing you to the immigrant
experience and branching out from, youknow, the, the world that you lived in.
(22:13):
So honestly, probably most ofmy influences are children's
literature or young adult.
I think so many of those definitive.
books like Lois Lowry, you know, a lotof like World War II, just, I remember
reading those over and over, Anneof Green Gables, just things that I
think were so formative at that time.
(22:34):
I think that's where my loveof historical fiction began.
And then, you know, I got to middle schooland was like, Hey, what are these other
books in the library that look historical,but have embracing people on the cover?
It opened a different pathway, butyeah, I think that's where it began.
Yeah, was there one that youidentified with the most?
(22:56):
I think I was always a Samantha girl.
I just wanted the classic, you know,I think when I was, when I was a kid,
There were only like four beginning.
I think after they started expandingand growing, but at the time I was
like, well, I look the most like her.
So obviously that's,
yeah.
(23:16):
Yeah.
The original four were Felicity,Kirsten, Samantha, and Molly.
But Samantha also doesn't surprise mebecause then you ended up writing in the
same time period that Samantha lives in.
Yeah.
So maybe it was
predetermined.
I
think
so.
Yeah, and determined a littlebit by Anne of Green Gables, I
think it's kind of the same time.
(23:36):
Different side of the continent,but yeah, puff sleeves are
still kind of a thing, so.
Yeah, exactly.
You're right in the puff sleeves era.
Well, speaking of Gilbert you know,in the description of Winnie West,
he's a hero who's mesmerized by theheroine and that honestly like my
first thought was like Gilbert Blythe.
(23:57):
So tell me about I guess, whatgets you going when writing a hero?
Sure.
I think I always love an intelligent hero.
I think probably becausemy husband's a professor.
I just, I'm like, ooh, smart man.
Yeah.
But also like intelligence is relative andI fully acknowledge that and will embrace
(24:21):
that in different characters, right?
It doesn't have to just be book smarts.
I also really like A male leadwho takes care of someone.
It could be a family member, it couldbe, you know, hopefully the heroine as
well, but I think that, that ability to,to show love, even if they're not ready
(24:41):
to say it, is something that I crave whenI'm reading or when I'm writing a story.
And going back to that idea oflike Mack being mesmerized by
Winnie, I think, I want all of themen just to be totally knocked.
off their socks by these women.
You know, these are rebellious ladies.
They're a little ahead of their time.
(25:02):
They're pushing buttons.
They're trying to go to school.
They're, they're, you know, getting jobs.
They're changing clothing.
They're voting in the street,you know, marching in the
streets, all of these things.
And I don't want a guy that says,Oh, look here, little lady, maybe
you shouldn't be doing that.
I want them to say, Wow.
Look at her.
(25:22):
Like, that's amazing.
And I just want them to be impressed.
Maybe they don't knowwhy they're impressed.
Maybe it terrifies them or they,you know, actively fight against it.
But I would not be surprised if most of mymale characters end up falling first just
because I love I love that trope so much.
Yeah.
I love that.
(25:43):
Well, and the other thing from thisscene that stood out to me was how great
of an apology He delivered, and like,I had an emotional release as he was
delivering that apology to Winnie andthere's this trope of the grovel in the
historical romance, which I think usuallycomes towards the end of the book, but
(26:04):
do you have, I don't know that I have aspecific question around this, but, so
I'm going to give you a very formlessquestion and you can take it however
you want, but how do you think aboutapologies slash groveling in your books?
Good question.
I mean, with regards to Mack, he'scaught between a rock and a hard place.
You know, he's workingat his uncle's newspaper.
(26:26):
He's waiting to inherit.
His uncle says, I'll give it toyou if you do X, Y, Z. Which is
kind of how he and Winnie getset up against each other, right?
He, he thinks he needs to do this.
So he puts his foot in hismouth several times in this
story, some more egregious thanothers, and he always realizes what
(26:48):
he's done, or he tries to make up forit, and obviously there is a bigger
grovel towards the end, and I thinkjust... they need to be authentic.
I think they need tocome from a real place.
Like in this part that I read, youknow, Winnie's not sure if it's to save
face or not, but it feels authentic.
And I think that's what Iwant to see in a grovel.
(27:08):
You know, it's not just pretty words.
I mean, those are always great.
We want to hear the pretty words,but we also want to see it backed
up by action, by what comes next.
So, yeah, I guess I just want that, that,that evidence, that you really mean it.
Like, what, what do you do next?
(27:29):
Yeah.
Awesome.
Well, I think it's time to playour game, Love It or Leave It.
[Musical Interlude]
All right.
Do you love it or leave it?
Protagonists meet in thefirst 10 percent of the story.
Love it.
Some of mine meet on like page one.
(27:50):
I mean, I'll wait patiently if it's notthe first 10%, but in general, love it.
Love it or leave it.
Dual point of view narration.
Love it.
I want to know what's going onin both of their heads for sure.
Love it or leave it,third person, past tense.
Love it but you know, I don't, arewe comparing it to another one?
(28:13):
Because I think depending on thestory and the genre, I'm okay with any
type of style, really.
I think we're just so accustomed to thirdperson past in the historical romance
that my first instinct is to say, ofcourse, that's, that's the way it's
done, but it doesn't have to be, right?
As long as it's well written andcan, I can get into that character's
(28:34):
head, I don't, I don't reallymind what style it's written in.
Alright.
Love it or leave it, thirdact, breakup, or dark moment?
Ooh, that's a hard one.
I do love them.
I mean, obviously I want thereto be a reason for it, and there
needs to be a grovel or a way back.
But I've read some that, Theydon't really have a strong breakup.
(28:57):
It can be a soft breakup, ifyou will or they, someone thinks
they're going to break up.
And again, depending on the, howlight or how angsty the story is,
I think both can work really well.
So can I say both?
I like both.
I love both.
I love both.
(29:18):
I love both.
Alright, love it or leave it,always end with an epilogue.
Love it, yeah.
I think I just, yeah, I want an, I wantone more glimpse of the characters.
Whether it's one week later,one year later, ten years later.
A second epilogue, I, I, I could leave it.
(29:39):
In fact, I've only written oneof those, and I think that shows
how I, I'm like, yeah, it's okay.
Also, because I think when I, whenI finish writing a story, I'm ready
to move to the next character.
It's, it's harder for me to keep withthose characters much longer, but I
appreciate other, other authors who do.
I wish I could, but no, I'll leave it.
(30:00):
Okay.
Love it or leave it, always shareresearch in your author's note.
Yes.
Love it.
I love reading them.
I love writing them.
In fact, I have to remind myself thatit's not a list of works cited and that
not everyone cares about that 1, 000articles I read as much as I do so I
(30:21):
try to keep it to, you know, the threemost interesting factoids or something
like that, or that I think are the most
important for a reader to understand,you know, especially if it's something
that readers might think is toomodern, or maybe doesn't didn't happen.
If I know that I based it on somethingreal, I want that to be evident.
(30:42):
For example, the photographer then whodoes some nude photos, a reader might
think they weren't doing nude photos.
Like, well, I can directyou to the website that That
sounds sketchier than it is.
It's very tasteful on theUniversity of Washington website.
I mean, yeah, I'm pretty sureas soon as we have any medium,
(31:03):
someone's making nude versions.
Yeah, exactly.
But yeah, so I love the author's note.
Love it.
Yeah.
Alright, and are there any romance rules Ididn't ask about that you'd like to break?
You know, I was trying to thinkof an example, and I couldn't
really think of any, so maybe not?
(31:24):
Do you have any that you could refer to?
Oh gosh so in the sailor withouta sweetheart, I decided not
to have any penetrative sex.
There was, there's sex, butthey never have penetrative sex
because of her chronic illness.
And so that kind of issort of breaking a rule.
I wasn't sure, how wouldreaders respond to that?
Yeah, so that's the type of thing thatI kind of like to be like, well, what
(31:47):
happens if we take that away, right?
Okay, that happens in oneof my novellas as well.
So yes But I think I could actuallythink bigger picture for a second.
It's not technically breaking rulesBut some readers might see it that way.
I mean just the mere fact that I'mwriting stories after 1900 It's
(32:11):
already like, oh, no, no, that'snot historical romance anymore.
And it's like, it is, it'sover a hundred years ago.
And also that I'm writing inthe United States, that it's not
New York in the United States.
Like, I think those, the settingand time are technically breaking
some rules for bad or worse.
(32:31):
Yeah.
There's certainly stepping readersoutside of, what they're accustomed to.
Yes, exactly.
This has been awesome.
Thank you so much for coming onand sharing your time with us.
Of course, thank youso much for having me.
This was, this was really fun.
Thank you so much.
Yeah.
Where can readers find you and your books?
(32:51):
I am wide, so I'm on all platforms.
I'm on Amazon, Kobo, Apple, BarnesNoble, Google, all the things.
You can follow me on Instagram, Facebook,BookBub, all the places as well.
And my website is katsterlingbooks.
com.
All right, I will put a link to yourwebsite in the show notes, so listeners,
you can just go click through on that.
(33:14):
This has been fantastic.
Thank you so much for coming on.
Thank you.
That's it for this week!
Don't forget to subscribe to theHistorical Romance Sampler wherever
you listen, and follow us onInstagram, TikTok, and YouTube.
Until next week, happy reading!
Welcome to the historicalromance sampler podcast.
I'm your host, Katherine Grant, andeach week I introduce you to another
amazing historical romance author.
My guest reads a little sampleof their work, and then we move
into a free ranging interview.
If you like these episodes, don'tforget to subscribe to the historical
(00:26):
romance sampler, wherever youlisten to podcasts and follow us
on Instagram, TikTok, and YouTube.
Now let's get into this week's episode.
I am super excited to bejoined today by Kat Sterling.
Kat writes historical romance featuringrebellious heroines and the swoon worthy
heroes who challenge and support them.
(00:48):
From the American South,she currently lives with her
brilliant husband in Ireland.
When she's not writing, sheenjoys nature walks, playing video
games, and drinks with friends.
Kat, I'm really excited.
Thanks for joining!
Thank you so much for having me.
Yeah, so what are youreading for us today?
I'll be reading an excerptfrom Winnie West Has an Agenda.
(01:10):
This is the first book in my series,The Seattle Suffrage Society.
So just to give you a little contextof what's going on, this is set in the
American West in Seattle, Washington.
and the year 1908.
So I'm going to be readinga part from chapter 5.
So we've kind of already met the maincharacters, Winnie West and Mack Donnelly.
(01:34):
So in this scene some of the suffragistsare already doing petitions and
they're gathered in a square whenthey have a little kerfuffle with
some little boys who throw mud.
Winnie and her friendduck behind an automobile.
And unfortunately, that automobilegets damaged, and guess who
might own that automobile?
(01:54):
So, here's that scene.
Alright.
"What in God's name happened tomy automobile?" A man shouted
from farther down the sidewalk,and their heads swiveled as one.
Even from a distance, Winnierecognized Mack Donnelly's lanky
form pressing through the crowd.
Satan's handbasket.
(02:15):
She ducked behind the bumper oncemore and lowered the brim of her hat.
When her friend stared at her inbewilderment, she hissed, "Hide!
I don't want to speak with him." "I'mafraid it's too late for that." Rhoda
peered down the sidewalk with interest.
"Dare I ask who he is?" Clem asked.
"My editor."
"Why are you hiding from him?" "And notvery well, I might add." "He never has
(02:38):
a pleasant word to say," she groaned.
"And he's forever staring into spacelike he's some great thinker. Minus the
great thoughts, mind you. Honestly, Ihave no idea how he became an editor."
The truth was, his rejection still stung.
But she wasn't ready toadmit that to the girls.
And she certainly couldn't tellthem that she'd been obsessing
(02:58):
over the dimple that had finallyrevealed itself in his right cheek.
It was much easier to focus on his faults.
"I can hear you, Bobcat."Winnie gaped at her friends in
horror, but they were no help.
Their eyes glued to the manon the sidewalk before them.
She eased herself to her feet with asmuch composure as she could muster.
But the effect was lost when hisgaze dropped to her soiled front,
(03:22):
down to her dirtied hands, andback to the damaged windshield.
"It's not what you think." Shecrossed her arms over her chest
and stepped into his path.
Based on her few interactions with Mr.
Donnelly, she didn't have muchhope he would be reasonable.
If that meant she had to gotoe to toe with him, so be it.
" We were conducting a petition when-""This is a suffrage event?" "So what?"
(03:45):
"You throw dirt at innocent men'scars in the name of equality?" His
scowl was strong enough to bleachher mud stain, yet Winnie found
herself leaning forward in challenge.
He was so close she could see the dilatedpupils and his deep blue eyes, and
every cell in her body fluttered awake.
What was it about this man thatsimultaneously made her want to
(04:07):
strangle him and crush her mouth to his?
She was both horrified and captivatedby the direction of her thoughts.
Kiss the enemy?
Had she gone delusionalfrom lack of water?
Rhoda snorted behind her, divertingMr. Donnelly's intense gaze and giving
Winnie a moment to compose herself.
"As if anyone related to the McIntyrefamily could claim to be innocent."
(04:31):
Mack's cheeks flushed with indignation,and Winnie's curiosity rocketed.
How did they know each other?
"Miss Carlyle, isn't it? My regardsto your father." Rhoda gave a
mocking bow, and in the awkwardsilence that followed, Mack's
attention returned to his automobile.
"Wait, it's not just mud. My windshieldis cracked." His thunderous expression
(04:54):
should have repelled her, but shefound herself wanting to place a
calming hand to his cheek, as if hertouch would magically fix everything.
Seriously, what was wrong with her?
"We were harassed by some youngboys," Winnie said, wrangling her
absurd thoughts under control.
"They're the ones who threw thedirt." He spread his arms wide
and turned in a full circle.
(05:16):
"And where are these mysteriousboys now?" Winnie's nostrils flared,
the few remaining vestiges ofattraction vanishing in an instant.
No man called her a liar.
"Are you suggesting I'm inventinga tale?" "All I know is that you're
the only one covered in mud andstanding beside my damaged automobile.
If the shoe fits." "It might shockyou to know that the Seattle Suffrage
(05:40):
Society has loftier goals than damagingyour automobile, sir." "They ran away
after they dirtied Winnie," Olive said.
The squeak in her shy friend'svoice heightened her anger.
But what more could be said?
It was clear Mack had already madeup his mind, and as she had learned
countless times throughout her life,a woman's word always came second.
(06:04):
At eight years old, when Tommy Whitakerlet her take the punishment for spilling
ink all over the classroom floor.
At sixteen, when she witnesseda robbery, but the male thief
convinced everyone she was a liar.
At twenty one, mere months intoher marriage, when her late
husband decided she should stopworking despite her wishes.
It was just another itemon a long list of insults.
(06:27):
She wouldn't waste another breath.
Jaw clenched so tight it hurt,she whipped open her handbag and
rummaged inside for her coin purse.
Thrusting as many coins as she could intoMack's hand, she said, "Here, I'll pay
for the boys damage to your windshield."
He gave the money in his hand acursory glance, and shook his head.
(06:49):
"This is something that can be resolvedwith your husband. I won't take your
pin money." Her face grew hot and herchest tightened to a painful degree.
That was all the money shehad until the next payday.
And he dismissed it like it was nothing.
Maybe it was nothing, but shewould be damned before she let him
humiliate her in front of her friends.
(07:10):
"There is no pin money, I manage my ownaccounts," she said between gritted teeth.
"And my husband's been dead for twoyears. So good luck getting any money
out of him." If the silence had beenawkward before, now it was excruciating.
Mack's mouth opened andclosed, but nothing came out.
Her friends moved closer in silentsupport, giving her the strength to raise
(07:33):
her chin and meet Mack's gaze head on.
The movement shook him from hisreverie, and he said solemnly, "Mrs.
West, my words were unconscionable.""Agreed," Rhoda said icily.
"Instead of throwing accusations, Ishould have asked after your well being. A
refined woman like yourself deserves sucha courtesy, and I fell short." His throat
(07:55):
bobbed, but he didn't break eye contact.
"And since you've never given mereason to doubt your word, I've
done you a grave disservice byaccusing you of a malicious act.
Please accept my apology."The flames of Winnie's outrage
reduced to glowing embers.
Able to be rekindled if necessary,yet soothed by Max's sincerity.
(08:16):
How had he known exactly whatwould get through to her?
Part of her suspected it was aploy to save face, but another
part wanted to crow in triumph.
At last, a man had admittedto his unfair treatment.
Then his gloved fingerswere wrapping around hers,
enclosing the coins in her palm.
She sucked in a breath as thegentle touch sent an electric
(08:38):
pulse of desire between her thighs.
She almost laughed at her body's lackof judgment, but it meant nothing.
Anger and lust were merelytwo sides of the same coin.
"I won't take your money," he said softly.
"Fine by me." She pulled herhand free and dropped the coins
back into her change purse.
The task returned her senses andshe looked up with renewed boldness.
(09:02):
"I accept your apology, Mr. Donnelly,which could only be made sweeter by
a generous donation to our cause.""You can send it to Longfellow House,"
clem chimed in helpfully.
Something like admirationflicked across his face.
"You'll receive my donation in thenext few days, miss." Winnie quickly
performed the introductions, andthough Rhoda's greeting included an
(09:26):
ill concealed glare, his apology hadseemingly worked on them as well.
"And will you allow meto sign your petition?"
Mack asked.
Winnie couldn't contain her surprise.
"You support our cause?" "Ifall suffragists are as earnest
and resolved as you are, I wouldbe a fool to stand against it."
Olive let out a low, dreamy sigh,and Winnie fought to maintain a
(09:49):
serene expression as she removedthe petition from the basket.
Once it was signed, Mack handedit back to her, his finger grazing
hers as the pen exchanged hands.
For the second time in a span of moments,a spark of awareness shot through her.
Was she so desperate for affection thatthe smallest touch could affect her so?
(10:10):
Or was it because Max stared at herwith an intent expression, as if she
were the only woman in the square?
Rhoda came to her rescue once more,saying, "You've earned the pleasure
of living another day, Mr. Donnelly."A wry grin tugged at his lips,
finally revealing an adorable dimple.
"I'm pleased to hear it, Ms. Carlisle.
(10:31):
Now, ladies, if you'll excuseme, I see my friend has arrived.
He'll help me sort out thismess." He replaced his hat, and
then, in a softer tone that madeher neck prickle, he said, "Mrs.
West, I'll see you at the office."She had to clear her throat
twice before she could speak.
"Yes, you will.
I'll have a very interesting list ofideas to show you." "I'm sure you will,
(10:54):
but as you already know, it takes alot to impress me." Winnie waited for
him to walk toward a burly, dark hairedman before expelling a long sigh.
Bracing herself, she gave herfriends an embarrassed smile.
"He's terribly handsome," Olive said.
"Is he?" Rhoda snorted.
(11:14):
"You're blushing, dear." "Over that ogre?
Never!" Her friends grinned.
"We shouldn't tease you," Clem said.
"Thank you." "Ah, but you wereeyeing him like a piece of cake
to be devoured," Rhoda added.
Olive nodded, giggling.
"Doubtful." Her ears heatedagain, and her mind turned to
what Rhoda had said earlier.
(11:36):
"What did you mean about Mr. Donnelly'sfamily not being able to claim a
title of innocence?" Rhoda shrugged.
" I've only heard snippets at parties.
Our families run in the sameset and people love to gossip.
I've heard a thing or two about hisuncle being in the pocket of some
questionable politicians." "Buthave you heard anything about Mr.
Donnelly?" Rhoda pursedher lips and thought.
(11:58):
"No, nothing about him." Therelief she felt surprised her.
It shouldn't matter to her if hewas the owner of a gambling den,
so long as he approved her ideas.
And yet, she was happy to know thatat least his reputation was solid.
"Thanks.
Now, I think it's time for that cake.
A real cake." She pointed afinger at her mischievous friend.
(12:20):
"Not a man cake." "Well, shoot, nowI want a man cake," Rhoda teased.
Clem laughed.
"Come on, ladies, it's starting todrizzle and Winnie has already suffered
enough." As they made their way outof the busy plaza, the first raindrops
trickling down, Winnie made a vow.
If MackDonnelly was willing to signtheir petition, that meant he was
(12:41):
on the cusp of supporting her ideas.
She was about to become themost annoying fly in the office.
Oh, wow.
What a great ending to that.
She's like rubbing her hands.
I love a woman who resolvesto be more annoying.
(13:04):
That was a fantastic scene.
I have lots of questions, butfirst we're going to take a
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(14:11):
All right.
Well, I am back with KatSterling, who just read a sample
from Winnie West Has an Agenda.
And my first question for you ishow, what about the era of the turn
of the 20th century, American West,specifically Seattle, drew you
to write though in that setting?
(14:32):
I know it's super randomat first glance, right?
It's definitely not the typical settingfor historical romance right now.
Not to say there's not, you know,other great American romances, but
it all comes down to the theme.
So I knew that I wantedto write about suffrage.
(14:53):
I loved Evie Dunmore's books and,you know, it was the era of social
justice and I thought, well, whatinterests me and it was women's rights.
And I thought, I want to do suffrageand I want to do American suffrage.
So it was really just a search ofwhat setting and time most excited me.
And I decided that nationalsuffrage, which was passed in, you
(15:16):
know, 1920, was a bit too late.
I didn't really want to write thatfar ahead, and so I was like, okay,
well what was going on in the 1800s?
What was with, you know, state suffrage?
And that's how I learned thatonly four states had passed
suffrage by I think 1896.
And then an era called the doldrumsstarted where there was 14 years that
(15:39):
passed and no suffrage was passedin any state in the United States.
But things were kicking up on the westcoast and when Washington State passed
suffrage in 1910 It was kind of a dominoeffect for a lot of the next states.
So I was like, well, that's a reallycool premise, you know like kick starting
the movement again having a victoryand then the more I looked at Seattle.
(16:03):
I was like, This history is fascinating.
I mean, it was a, you know,the city was exploding at that
point, just so much movement.
I think between 1900 and1910, the population grew, I
think I wrote this down, 194%.
Just Seattle.
Wow.
So, when I started reading about it, andI'd visited Seattle many times because my
(16:27):
sister lived there for a decade I just,I just knew that it was the right place.
I got excited about it, and I thought,there's so many stories here that
haven't been told in a historicalromance setting, and I'm gonna do it.
Yeah.
So yeah, that's how I ended up in Seattle.
That's amazing.
And something that stands outto me whenever we're at, we're
(16:51):
encountering the suffrage movement.
And it, it came out in the scenetoo, where she said, kiss the enemy
is that like the suffragists werevery aware of how marriage was an
institution that oppressed them.
So I think that must be a reallyinteresting tension to play with.
How do you think about that asyou're crafting your romances?
(17:13):
Yeah, I mean, I think that especiallycame out in Winnie's story because she
is a widow and she was in a marriagewhere she was not supported in terms
of wanting to be a professional,wanting to further her education.
So now that she is widowed, she'sreclaiming her life and she's not
looking for any man who, at all,really, and especially any man who
(17:34):
doesn't support her newfound freedom.
So there's definitely a tug and pull ofthat throughout this book that kind of
how do I live for me while still embracingthat I deserve love and I'm, you know,
I can find happiness in this new place.
So yeah, it's a very interestingconcept because I also don't really
(17:54):
want to write misogynistic heroes.
It's just not my cup of tea.
I don't mind if they make, youknow, the occasional foot in mouth
kind of statement, but I just, Ididn't want to convert anybody.
I wanted there to be reasons forwhat they were doing, but overall
for them to support a woman's rightto vote, no matter their background,
no matter their circumstance.
(18:15):
So all of the heroes will have thatkind of attitude in this series, yeah.
Have you found examples of menin the historical record who
supported the right to vote?
Yeah.
Yes.
Yes.
So for example, with the Seattle movement,there were plenty of examples of men
going to speak for women in like kindof male led areas like different labor
(18:39):
groups or in government, et cetera.
So there are a lot of accountsof men working beside women.
And actually in my book, in Winnie West,she goes to a suffrage kind of conference,
if you will out in the countryside.
And I do make sure to show thatthere were men attending these talks
as well, that they were interestedin supporting the women as well.
(19:01):
I like that.
I mean, so often we get pushback when wewrite heroines who are too liberal minded,
but I also sometimes feel in myself givingpushback, but also I think seeing pushback
of like, well, men wouldn't be thinkingthat way because why would they be?
So it's nice to, to kind ofknow that it's not just wishful
(19:22):
thinking that these heroes exist.
Oh, not at all.
And I do try to base a lot, if not allof the stories I write, in real history.
You know, obviously we can push the,the boundaries a little bit or color
within the lines kind of thing.
But I, I've done such a deep diveinto what went on at that time.
(19:42):
And I have so many examples ofthings that really happened either in
Washington or in a different state.
And then from there, it's easy toconcoct a fictional scene or setting.
Yeah.
So do you tend to do your researchbefore you start doing most of
your writing or is it kind ofintegrated throughout your process?
(20:02):
I think I do an initial deepdive of whatever is interesting
me at the moment because I amheavily influenced by what I find.
And I find amazing gems all the time.
So just as another example, myChristmas novella, Snowed In with
the Scoundrel it's based on a Seattlefemale photographer from 1909, you
(20:25):
know, and I, when I found that, I waslike, Oh my gosh, like, I want to write.
And my other novella is byopening day is set around the
kind of World's Fair in Seattle.
And again, that was based on somany of the things that actually
happened at the World's Fair.
And so when I find these things inhistory, they just shout to me like,
(20:47):
this is your story include this.
And so I love that, but at the sametime, it can be, you know, a double
edged sword, because I'm like, but Ihaven't found the perfect detail, and
then, you know, four days later, I'mstill reading through research, so
I'm trying to get better at saying,it's okay for you to invent something.
This is fiction.
(21:09):
Right.
One of the things that strikes mespecifically about how much you
weave in real things that happened.
It reminds me of books I read beforeI got to the historical romance genre.
When I was a young reader, I was readinglike Anne Rinaldi and also like the Royal
Diaries and the Dear America series.
And those were fictional.
(21:30):
Well, the Royal Diaries were real people,but for the most part, those, those books
were all like fictional people interactingwith actual history that happened.
And it was partly toeducate the young readers.
So I'm, I'm always curious, like,does, do you also have influences from
outside the historical romance genre?
Does the American Dolls series count?
(21:51):
Yes!
I was actually working ona theory the other day.
I was like, I wonder for, like, ourgeneration, how much of us started, our
love started with the American Girl Dolls.
Oh yeah, I loved those and I feltlike they really took me around the
world and they were really good forintroducing you to the immigrant
experience and branching out from, youknow, the, the world that you lived in.
(22:13):
So honestly, probably most ofmy influences are children's
literature or young adult.
I think so many of those definitive.
books like Lois Lowry, you know, a lotof like World War II, just, I remember
reading those over and over, Anneof Green Gables, just things that I
think were so formative at that time.
(22:34):
I think that's where my loveof historical fiction began.
And then, you know, I got to middle schooland was like, Hey, what are these other
books in the library that look historical,but have embracing people on the cover?
It opened a different pathway, butyeah, I think that's where it began.
Yeah, was there one that youidentified with the most?
(22:56):
I think I was always a Samantha girl.
I just wanted the classic, you know,I think when I was, when I was a kid,
There were only like four beginning.
I think after they started expandingand growing, but at the time I was
like, well, I look the most like her.
So obviously that's,
yeah.
(23:16):
Yeah.
The original four were Felicity,Kirsten, Samantha, and Molly.
But Samantha also doesn't surprise mebecause then you ended up writing in the
same time period that Samantha lives in.
Yeah.
So maybe it was
predetermined.
I
think
so.
Yeah, and determined a littlebit by Anne of Green Gables, I
think it's kind of the same time.
(23:36):
Different side of the continent,but yeah, puff sleeves are
still kind of a thing, so.
Yeah, exactly.
You're right in the puff sleeves era.
Well, speaking of Gilbert you know,in the description of Winnie West,
he's a hero who's mesmerized by theheroine and that honestly like my
first thought was like Gilbert Blythe.
(23:57):
So tell me about I guess, whatgets you going when writing a hero?
Sure.
I think I always love an intelligent hero.
I think probably becausemy husband's a professor.
I just, I'm like, ooh, smart man.
Yeah.
But also like intelligence is relative andI fully acknowledge that and will embrace
(24:21):
that in different characters, right?
It doesn't have to just be book smarts.
I also really like A male leadwho takes care of someone.
It could be a family member, it couldbe, you know, hopefully the heroine as
well, but I think that, that ability to,to show love, even if they're not ready
(24:41):
to say it, is something that I crave whenI'm reading or when I'm writing a story.
And going back to that idea oflike Mack being mesmerized by
Winnie, I think, I want all of themen just to be totally knocked.
off their socks by these women.
You know, these are rebellious ladies.
They're a little ahead of their time.
(25:02):
They're pushing buttons.
They're trying to go to school.
They're, they're, you know, getting jobs.
They're changing clothing.
They're voting in the street,you know, marching in the
streets, all of these things.
And I don't want a guy that says,Oh, look here, little lady, maybe
you shouldn't be doing that.
I want them to say, Wow.
Look at her.
(25:22):
Like, that's amazing.
And I just want them to be impressed.
Maybe they don't knowwhy they're impressed.
Maybe it terrifies them or they,you know, actively fight against it.
But I would not be surprised if most of mymale characters end up falling first just
because I love I love that trope so much.
Yeah.
I love that.
(25:43):
Well, and the other thing from thisscene that stood out to me was how great
of an apology He delivered, and like,I had an emotional release as he was
delivering that apology to Winnie andthere's this trope of the grovel in the
historical romance, which I think usuallycomes towards the end of the book, but
(26:04):
do you have, I don't know that I have aspecific question around this, but, so
I'm going to give you a very formlessquestion and you can take it however
you want, but how do you think aboutapologies slash groveling in your books?
Good question.
I mean, with regards to Mack, he'scaught between a rock and a hard place.
You know, he's workingat his uncle's newspaper.
(26:26):
He's waiting to inherit.
His uncle says, I'll give it toyou if you do X, Y, Z. Which is
kind of how he and Winnie getset up against each other, right?
He, he thinks he needs to do this.
So he puts his foot in hismouth several times in this
story, some more egregious thanothers, and he always realizes what
(26:48):
he's done, or he tries to make up forit, and obviously there is a bigger
grovel towards the end, and I thinkjust... they need to be authentic.
I think they need tocome from a real place.
Like in this part that I read, youknow, Winnie's not sure if it's to save
face or not, but it feels authentic.
And I think that's what Iwant to see in a grovel.
(27:08):
You know, it's not just pretty words.
I mean, those are always great.
We want to hear the pretty words,but we also want to see it backed
up by action, by what comes next.
So, yeah, I guess I just want that, that,that evidence, that you really mean it.
Like, what, what do you do next?
(27:29):
Yeah.
Awesome.
Well, I think it's time to playour game, Love It or Leave It.
[Musical Interlude]
All right.
Do you love it or leave it?
Protagonists meet in thefirst 10 percent of the story.
Love it.
Some of mine meet on like page one.
(27:50):
I mean, I'll wait patiently if it's notthe first 10%, but in general, love it.
Love it or leave it.
Dual point of view narration.
Love it.
I want to know what's going onin both of their heads for sure.
Love it or leave it,third person, past tense.
Love it but you know, I don't, arewe comparing it to another one?
(28:13):
Because I think depending on thestory and the genre, I'm okay with any
type of style, really.
I think we're just so accustomed to thirdperson past in the historical romance
that my first instinct is to say, ofcourse, that's, that's the way it's
done, but it doesn't have to be, right?
As long as it's well written andcan, I can get into that character's
(28:34):
head, I don't, I don't reallymind what style it's written in.
Alright.
Love it or leave it, thirdact, breakup, or dark moment?
Ooh, that's a hard one.
I do love them.
I mean, obviously I want thereto be a reason for it, and there
needs to be a grovel or a way back.
But I've read some that, Theydon't really have a strong breakup.
(28:57):
It can be a soft breakup, ifyou will or they, someone thinks
they're going to break up.
And again, depending on the, howlight or how angsty the story is,
I think both can work really well.
So can I say both?
I like both.
I love both.
I love both.
(29:18):
I love both.
Alright, love it or leave it,always end with an epilogue.
Love it, yeah.
I think I just, yeah, I want an, I wantone more glimpse of the characters.
Whether it's one week later,one year later, ten years later.
A second epilogue, I, I, I could leave it.
(29:39):
In fact, I've only written oneof those, and I think that shows
how I, I'm like, yeah, it's okay.
Also, because I think when I, whenI finish writing a story, I'm ready
to move to the next character.
It's, it's harder for me to keep withthose characters much longer, but I
appreciate other, other authors who do.
I wish I could, but no, I'll leave it.
(30:00):
Okay.
Love it or leave it, always shareresearch in your author's note.
Yes.
Love it.
I love reading them.
I love writing them.
In fact, I have to remind myself thatit's not a list of works cited and that
not everyone cares about that 1, 000articles I read as much as I do so I
(30:21):
try to keep it to, you know, the threemost interesting factoids or something
like that, or that I think are the most
important for a reader to understand,you know, especially if it's something
that readers might think is toomodern, or maybe doesn't didn't happen.
If I know that I based it on somethingreal, I want that to be evident.
(30:42):
For example, the photographer then whodoes some nude photos, a reader might
think they weren't doing nude photos.
Like, well, I can directyou to the website that That
sounds sketchier than it is.
It's very tasteful on theUniversity of Washington website.
I mean, yeah, I'm pretty sureas soon as we have any medium,
(31:03):
someone's making nude versions.
Yeah, exactly.
But yeah, so I love the author's note.
Love it.
Yeah.
Alright, and are there any romance rules Ididn't ask about that you'd like to break?
You know, I was trying to thinkof an example, and I couldn't
really think of any, so maybe not?
(31:24):
Do you have any that you could refer to?
Oh gosh so in the sailor withouta sweetheart, I decided not
to have any penetrative sex.
There was, there's sex, butthey never have penetrative sex
because of her chronic illness.
And so that kind of issort of breaking a rule.
I wasn't sure, how wouldreaders respond to that?
Yeah, so that's the type of thing thatI kind of like to be like, well, what
(31:47):
happens if we take that away, right?
Okay, that happens in oneof my novellas as well.
So yes But I think I could actuallythink bigger picture for a second.
It's not technically breaking rulesBut some readers might see it that way.
I mean just the mere fact that I'mwriting stories after 1900 It's
(32:11):
already like, oh, no, no, that'snot historical romance anymore.
And it's like, it is, it'sover a hundred years ago.
And also that I'm writing inthe United States, that it's not
New York in the United States.
Like, I think those, the settingand time are technically breaking
some rules for bad or worse.
(32:31):
Yeah.
There's certainly stepping readersoutside of, what they're accustomed to.
Yes, exactly.
This has been awesome.
Thank you so much for coming onand sharing your time with us.
Of course, thank youso much for having me.
This was, this was really fun.
Thank you so much.
Yeah.
Where can readers find you and your books?
(32:51):
I am wide, so I'm on all platforms.
I'm on Amazon, Kobo, Apple, BarnesNoble, Google, all the things.
You can follow me on Instagram, Facebook,BookBub, all the places as well.
And my website is katsterlingbooks.
com.
All right, I will put a link to yourwebsite in the show notes, so listeners,
you can just go click through on that.
(33:14):
This has been fantastic.
Thank you so much for coming on.
Thank you.
That's it for this week!
Don't forget to subscribe to theHistorical Romance Sampler wherever
you listen, and follow us onInstagram, TikTok, and YouTube.
Until next week, happy reading!
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