February 26, 2025 • 30 mins
Sylvie Sinclair joins the podcast to read a sample of her Regency romance, THIS MARQUESS OF MINE. We talk about Sylvie's writing process, her love for Regency accessories, grounding scenes in physical objects, and her approach to dialogue and subtext. Plus, Sylvie shares insights into her favorite authors, research practices, and the importance of emotional depth in romance.
00:00 Welcome to the Historical Romance Sampler
01:52 This Marquess of Mine
15:23 Crafting Dialogue and Characters
19:48 The Joy of Research and Influences
26:27 Love It or Leave It: Fun Game Segment
29:10 Wrapping Up: Where to Find Sylvie Sinclair
30:24 Closing Remarks: Subscribe and Follow Us
Find out more about Sylvie Sinclair at Sylviesinclair.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 today tohave Sylvie Sinclair with us.
Sylvie cut her teeth on the Sweet ValleyTwins, L. M. Montgomery, and Sunfire
romances before inevitably graduating tothe classic bodice rippers of the 80s and
(00:50):
90s, which she kept hidden under her bedfrom her disapproving mother for years.
The romance and adventure in thesebooks inspired her to write her own
love stories, with strong heroines whoknow their own mind, and the heroes
who wouldn't have it any other way.
She lives in California with herown cinnamon roll hero, and their
(01:10):
two spoiled rotten rescue cats.
When she isn't writing or reading, shecan usually be found watching Melrose
Place with a glass of red wine in handor puttering around in her flower garden.
Sylvie, thank you so muchfor being here today.
Thank you so much for having me.
I'm excited to be here.
Yeah, I'm really excited to hearyour excerpt from this Marquis of
(01:33):
mine and to get to know you better.
Yeah, thank you.
I love, don't often get a chanceto talk about my books because
I'm just naturally sort of a
private person, but I'm here andI'm gonna talk about this book
that I really loved writing.
So I yeah,
love these
characters.
That's awesome.
Yeah.
So what should we knowabout This Marquess of Mine?
(01:54):
So it is the second book in aseries following three girlfriends
who kind of grew up together.
Olivia and Griffin,they are the two mains.
Griffin is Olivia's best friend's brother.
She's known him sinceshe was a little girl.
She's always kind of had a crushon him and he's of course attracted
to her but doesn't want to be.
So the story opens in June of 1821.
(02:17):
The only reason I mention that isbecause the Christmas prior to that,
olivia had too much Christmas punch andshe sort of angled for a kiss beneath
the mistletoe and Griffin rejected her.
So that sort of comes into play a little.
Yeah.
That Christmas punch is dangerous.
So ever since then, ofcourse she was humiliated.
(02:38):
She's kind of been avoiding him.
She's also sort of moved hermatrimonial hopes to a duke.
But because Griffin's mom injuresher ankle and is usually his sister's
chaperone, she asks Griffin to chaperoneher around London, and because Emmy,
who is his sister, and Olivia arebest friends, that sort of throws
(03:02):
them together, and this scene that I'mgoing to read takes place in a London
boutique, and the three of them are inthis London boutique, although no one
is very happy about it, so that sortof leads up to this, this little scene
With our two mains kind of being meanto each other, so that's the setting.
Awesome.
(03:22):
Alright, so here we go.
" That's a pretty bonnet," Emmysaid, coming up behind Olivia and
eyeing her reflection in the glass.
"Will you buy it?" "Idon't know," Olivia said.
"Perhaps." She turned to faceEmmy and lowered her voice.
"Why didn't you warn me that your brotherwould be our escort today?" Emmy had the
grace to look mildly ashamed of herself.
(03:45):
"Because I knew if I told you,you wouldn't come." "Yes, I
would." Emmy raised a brow.
"Probably. Maybe." "Well, I thoughtit best you had no choice in the
matter," Emmy said, glancing at thefront of the shop where her brother
still stood. "You'll have to get usedto being around Griffin again someday.
You might as well start now."
Olivia turned to face the mirroragain, biting back a frown.
(04:08):
Get used to it?
Impossible.
But she knew Emmy was right.
She would have to try.
She would have to accept the factthat he disliked her and ignore it.
and refused to allow his disregardto injure her any further.
She would be a duchess soon, afterall, the wife of a powerful duke.
What did she care what amere Marquess thought of her?
From now on, she would simply be herself.
(04:30):
Silly, spoiled, flirtatious,unabashedly herself.
Perhaps even obnoxiously,if the mood should strike.
She shoved Griffin from hermind and studied the bonnet
again with a critical eye.
"Do you think this bonnet suits me?"
She asked Emmy.
"You don't think it's a touch too frilly?"She adored the bonnet, but even she had to
acknowledge that frills could be overdone.
(04:53):
Emmy copped her head to one side,studying Olivia's reflection.
"No, I don't, but perhaps we need athird opinion, a male one." Before Olivia
could stop her, Emmy turned and calledout Griffin's name, beckoning him over.
"Emmy, no," Olivia hissed.
"That isn't necessary."But it was too late.
Griffin was already walking overto them, his gaze on his sister.
(05:15):
Olivia drew in a breath and turned,clasping her hands at her front.
"What do you think of thisbonnet?" Emmy asked her brother.
"I think it's lovely, simplyperfect for a drive through the park
with a certain gentleman caller.
But Olivia isn't so sure.
What do you think?" Griffin's gazeflicked from Emmy to the bonnet to
Olivia's face, and she could feel hercheeks warming beneath his perusal.
(05:39):
The seconds felt like hours as heconsidered her answer, and suddenly, the
weight of the moment grew uncomfortable,and the thought of hearing his
opinion was simply too much to bear.
She could not stand anotherof his veiled insults, or
worse, an insincere compliment.
"I have no need for your brother'sopinion," she said lightly, as she removed
(05:59):
the bonnet and returned it to its perch.
"He and the Duke have vastly differenttastes, after all," she said about
securing the ribbons on her ownbonnet, avoiding Griffin's gaze.
"And besides," he said, his voicedeep and laced with amusement.
"If I said I liked the bonnet, shewouldn't want it. And if I said I
didn't, she would." Olivia cluckedher tongue and forced a serene smile.
(06:23):
"Don't be silly. That would suggest youropinion matters to me, and I assure you,
it does not." The bell on the door gave apleasant jangle, interrupting the moment,
and two women walked into the shop.
One older, the other a youngerversion, clearly mother and daughter.
"Oh, it's Miss Stanhope and her mother,"Emmy said, heading off to greet them.
"Miss Stanhope, what a beautifulshawl. You must tell me where it
(06:46):
came from." Olivia watched as Emmyjoined the ladies, well aware she
ought to do the same, but she wastoo aggravated for social niceties.
Ignoring the infuriating man at herside, she stepped around him and wandered
over to the display case of earrings,irritation thrumming through her veins.
No one tested her patience like Griffin.
(07:07):
No one.
And no matter what she did, or howhard she tried, she seemed incapable
of containing her temper with him.
Dratted man.
She knew he thought very little of her.
But why did he have to be so rude?
Why did he derive such pleasure frommocking her and provoking her temper?
Could he not simply sufferher presence in silence?
(07:27):
She stared at a pair of earringswith unseeing eyes and blew
out a frustrated breath.
He'd called her a silly, spoiledflirt, and maybe he was right,
but surely she wasn't the onlysilly, spoiled flirt in London.
So why did he dislike her so much?
When she was a little girl, he'd toleratedher as his younger sister's little
friend, and she'd been fine with that.
(07:49):
He'd ignored her more oftenthan not, but he was never mean.
It wasn't until she made her debutthat his behavior changed toward her,
as if he sensed her budding attractionfor him and sought to repel it.
A peal of giggles drew hergaze to the center of the shop,
where Emmy stood chatting withMiss Stanhope and her mother.
Griffin had joined the group, thoughshe knew him well enough to recognize
(08:10):
that he didn't want to be there.
His smile was tight, likelydue to the fact that Miss
Stanhope was flirting with him.
Her smile coy, her eyes coquettish.
Griffin shifted on his feet.
With a soft chortle, Olivia turnedback to the display case, pleased
as punch to see him suffering so.
Petty, perhaps, but she didn't care.
(08:31):
Just add it to my longlist of transgressions.
Shoving Griffin from her mind yetagain, she studied the display bearing,
searching for a pair that wouldcomplement her costume, something
in deep blue or bright green.
A slash of scarlet caught her eye,a stunning pair of earrings with
gems of bright red, violet, andorange intertwined like flames.
(08:52):
She stroked one with the tipof her gloved finger, her eyes
transfixed on the work of art.
They were bold and daring and gorgeous.
She adored them.
"Those are pretty." Olivia stiffenedat the intrusion, Griffin's
low voice invading her space.
"Yes, they are," she murmured,her tone impassive, even as
awareness skittered up her spine.
(09:12):
He was close, too close, his arms scantinches from hers, and the warmth of him,
the scent of him, seemed to be everywhere.
He reached out, his forearmbrushing her, and though it was
only their sleeves that touch, shefelt it all the way to her toes.
"I like the purple pair, too," he said.
"They would make your eyes shineeven brighter, I think." She
(09:33):
blinked, captivated by the sightof his gloved fingers skating over
the amethyst beads like a caress.
A compliment from the Marquess of Keswick?
Surely she was dreaming.
Bemused, she looked at him,wary of what she might find in
those dark gray eyes of his.
But for once there wasno mockery, no judgment.
"Thank you," she said softly.
(09:54):
"I-" Another peal of giggles eruptedbehind them, and Olivia turned at the
sound, peering over her shoulder intime to catch Miss Stanhope sneaking a
glance at Griffin with covetous eyes.
Her gaze snapped to Olivia's,and her lip thinned before she
looked away, her nose in the air.
"Ah, there it is. The reason forthe anomalous compliment. You found
(10:16):
yourself a new admirer, I see,"Olivia said crisply, turning back
to gaze at the earrings again.
"Is that why you're here, paying mefalse compliments? You're hiding from the
girl?" She shot him a sidelong glance,masking the hurt behind an amused smile.
Griffin's gaze met hers, then dippedto her mouth and lingered for a beat,
before falling to the display case.
(10:37):
"Gentlemen do not hide," he corrected.
"We evade." His tone was light, thoughhis voice had deepened to gravel.
"Oh, yes, of course." Olivianodded with faux solemnity.
"How silly of me." Absently, shereached out and systematically
straightened the row of earrings withher forefinger until they all fell
in line like good little soldiers.
(10:58):
Another burst of female laughtertrumpeted behind them, startling
her, and she snorted a laugh, hershoulders shaking with suppressed mirth.
"It isn't funny," Griffin grumbled.
"Oh, but it is," she saidthrough trembling lips.
"I feel as though I've walked intothe middle of a mating ritual."
A muscle ticked in his jaw.
"This is why I avoid places likethis. It isn't safe for me here, with
(11:21):
all these women around falling at myfeet." Olivia shot him a dubious look.
"Falling at your feet?" He shrugged.
"Practically." She huffed out a laugh.
"Well, you can hardly blame the girlfor trying to catch you," she said.
"You are single, after all,and..." "and devastatingly
charming, dangerously handsome?"
His half smile was both in spades.
(11:43):
But Olivia ignored it and rolled her eyes.
"Deliriously rich, then," Griffin offered.
She smirked.
"I was going to say a marquess" He cockedhis head to one side, his gaze quizzical.
"Meaning what?
That women wouldn't want me asmuch if I weren't a marquess?"
"No," she said cheerfully, "meaningthey wouldn't want you at all."
(12:05):
A reluctant smile tugged at thecorners of Griffin's mouth, and
Olivia couldn't help herself.
She smiled back at him.
Their gazes held for a moment, and sheallowed herself the luxury of admiring his
eyes, stormy gray, mischievous, arrogant.
Wholly irresistible.
Resist.
She turned from him, her heart thuddingin her chest, ridiculously affected
(12:27):
by the man beside her, despite hisopinion of her, his rejection of her.
Fool.
Drawing in a slow, brain clearing breath,she moved farther down the long table of
goods, past the earrings and gloves, untilshe came to the display of hand painted
silk fans, nestled into one corner.
She paused to admire the colorfulassortment of butterflies and blossoms
(12:48):
and seascapes, each design unique andexpertly painted, and so beautiful people
traveled from all over England to buy one.
"I'll have you know," Griffinsaid, coming up beside her, "my
company is highly sought after.
I'm told I make a charming companion."His voice was low but light, his big
body dwarfing the already crowdedspace, and self preservation had
(13:11):
her shifting away from him as faras the little corner would allow.
"Are you indeed?" She askedmildly, picking up a fan
painted with purple pansies.
"I wouldn't know. You've certainlynever tried to charm me." He
cocked his head to one side,slipping his hands in his pockets.
"Would you want me to?" Yes.
The word teetered on the tip of hertongue, but she swallowed it whole.
(13:34):
And then she lied.
"Of course not," she said, studyingthe fan with feigned interest.
"And anyway, it would be an exercisein futility. I am immune to your
charms." She could feel his eyeson her, a whisper of awareness
prickling at the nape of her neck.
She forced her chin up to meet his gaze.
He arched one brow, and a smiletoyed with the corners of his lips
(13:56):
as his gaze dipped to her mouth.
"I think we both knowthat isn't true, Olivia."
ooh!
That was really fun, full of like funbanter, but also the feels of the angst.
Like you really bridgedboth of those things.
Oh,
thank you.
I do love some angst.
I think I lean a little too hard intothe angst sometimes, but I just love it.
(14:17):
I eat it up.
What is romance without angst?
I know!
You know, can there ever be too much?
I don't think so.
Well, I have a lot of questions foryou, but first we're going to take
a quick break for our sponsors.
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(14:38):
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(15:21):
And now, back to this week's episode.
Alright, so we are back with SylvieSinclair, who just read an awesome
excerpt from This Marquess of Mine.
And one of the things that really, Iloved about that was this feeling of
the banter and they're, you know, likereally going for this, like, kind of like,
oh, we're enemies vibe, but they bothclearly have full feelings for each other.
(15:45):
And it also was giving me alittle bit of the Darcy Elizabeth
Bennett, you know, there's a lotof misunderstanding going on.
So can you talk to me a little bitabout where this story started and how
your stories typically come to you?
You know, I dialogue is just whereI feel I come alive the most.
(16:07):
The other stuff is necessary, you knowsetting the scene and all of that, but
dialogue for me is just, I love it.
So if books could just be all dialogue, Iwould have 30 books out by now, probably.
I just love it so much.
So I really think that when I'mthinking about plot, that's a lot
(16:30):
of where I come from, is I'm reallythinking, what gets me excited?
What interactions between thetwo mains are going to really
get my creative juices flowing?
And that's really sort of the precipicefor a lot of my plots, is starting with
those little nuggets of I love banter.
I know not every book canhave banter, but I love it.
(16:51):
And so I really think that'skind of where it started.
And, and you meet Olivia and Griffinin book one of this series, and you
can tell there's some history there.
They're never cruel to each other, butthey're definitely pick at each other.
And so I, yeah, I kind of threadedthat through the first book sort of
(17:12):
hinting at what terrible things I willdo to these two characters to get them
to come together, so, in this book.
Yeah, well, one of the tricks of dialogueis to have the character saying something,
but then to explore everything they'renot saying, and why they're not saying
it, and all that yummy goodness, andyou really achieved that in this scene.
(17:33):
Oh, I do think that's can be challenging.
It really is challenging, but it'sreally fun to sort of thread or
sort of say things, convey something
when the character is saying theexact opposite, I find subtext,
I just think that is delicious.
I love, I love good subtext.
(17:55):
I love to read.
I love to write it.
Yeah.
And one of the things that was reallygrounding this scene was the physical
things that Olivia was interactingwith, like the jewelry and the fans,
which you mentioned, like, you know,in this universe, people come to that
store specifically to buy those fans.
Are those grounded inresearch that you've done?
(18:17):
Yes, I love Regency, or any,really any historical accessories.
If I had all the money in theworld, I'm sure I'd have a whole
house of just antiques and fashion.
Not that I'm a fashionable person, butI love to look at beautiful things,
and I just think the Regency hadsome of the most amazing accessories.
(18:40):
Just, I would love anaccessories room of just Regency.
So yeah, a little bit of,of research went into that.
I, I do love makingcharacters touch things.
I find that very helpful in conveying,again, with subtext and sort of their
body language conveying what they'reactually feeling, even if their dialogue,
(19:04):
their words are the exact opposite.
So I, I do like to use setting inthat way, it feels very intimate
and like it can convey a lot.
So I like to really like doing that.
I remember in an acting class I took inmiddle school, they showed us a scene
from high society with Grace Kelly, andthey were pointing out to us how she was
(19:26):
having this dialogue with someone, butthe whole time she was moving her head.
A handkerchief through herhands and they were like, pay
attention to the handkerchief.
That is how she's expressing her emotion.
Oh, fascinating.
So that's.
It's a cute movie.
I'll have to look at that scene.
Yeah.
It's a
great
movie.
Oh
my
gosh.
It's a
great movie.
Yes.
(19:46):
I love
old movies.
Okay.
So, so what is your generalresearch process or approach to
research for the Regency period?
You know, I.
find I can get toobogged down in research.
So this is probablygoing to sound terrible.
I actually have to step back fromdoing too much research because
(20:10):
I find that's all I want to do.
And then I just magicallywant the book to be there.
I'm sure, I'm sure we all feel that way.
So I try not to do a wholelot of research unless it's
something that I'm afraid to do.
of putting in a bookthat didn't exist yet.
Then I will do more research.
(20:32):
But a lot of what I draw on, andthis is probably not advisable, is
my 30 plus years of reading romance.
I kind of use that as my sortof base knowledge, even though
they were written by authors whoare infallible like we all are.
But for me as a reader,historical accuracy.
(20:55):
If it's egregiously inaccurate,it pulls me out, but I'm not a
huge stickler for everything beingperfectly historically accurate.
So I guess what I'm saying isit's a fine balance for me.
I do love research, but I can't letmyself go down the rabbit hole too
much where I'm already a slow reader.
(21:16):
The book would literally takeme five years to write if I let
myself do too much research.
Oh, I understand that impulse.
So you mentioned, you know, you've beenreading romance for 30 years and in your
bio, you, you mentioned a few of thevery foundational, but are there any
historical romance authors specificallythat you kind of hold up in your head as
(21:38):
that's the person I want to write like?
Oh, you know, not, not necessarilyfrom, from that long ago, just because
we read through a different lens now.
A lot of the books from the 80sand 90s were very problematic.
At the time, I thought they were thepinnacle of the types of relationships
(22:02):
you should, you know, aspire to.
Judith McNaught was my biggie.
I devoured all of her books.
But she has a lot of dubiousconsent in her books.
The same kind of with Julie Garwood.
I love how they write these big sweepingromances that are like 500 pages long,
(22:23):
which also wouldn't fly nowadays.
So while those were kind of myfoundational authors and I still hold
a very special place in my heart forthem, it just doesn't work as well today.
Nowadays Julianne Long and EloisaJames And Beverly Jenkins are
all, I think, three authorswho could not be more perfect.
(22:45):
At least from my own personal tastesin what I look for in romance just
their dialogue, their sexy scenes,everything, they're all just chef's kiss.
So, I can get even halfway as goodas any of them any time in my life.
I will.
I don't know what God I would havesacrificed something to, but anyway,
(23:08):
I, those three are fantastic.
Yeah, I like that.
Well, and you mentioned in yourbio, you know, being a big fan of L.
M. Montgomery, who of course wroteAnne of Green Gables, the series.
So Gilbert Blythe, I considera cinnamon roll hero.
Perhaps the ultimate and just amazing.
(23:31):
Do you, so since you've, since you'rea huge fan of Anne of Green Gables and
supposedly, I assume Gilbert what'syour favorite kind of hero to write?
Do you gravitate towards cinnamon rollheroes or do you prefer alpha heroes?
That's a great question.
I've never really thought about it before.
(23:51):
I don't know that I write alphas.
That's a very special type of herothat can either be very well done,
where it's like the sexiest thingyou've ever read, Or you are like,
why is this man not in jail right now?
So I think what I like, even if myhero heroes are a little bit more alpha
(24:13):
inside, they're always a cinnamon roll.
I guess I'll just say it, I'm,I'm a pretty big feminist.
Consent is a big thing for me in my books.
So I have a hard time writing ahero being toxic or predatory.
Those just, that's just not my jam.
I'm not here to kink shame anybody.
But so I think even if my heroes sometimescome across as a bit alpha, they are
(24:39):
always a cinnamon roll on the inside.
I can't write the gooey center.
All in all, I just can't writea hero who's not maybe at his
core at least a good person,if that answers your question.
Yeah, it does.
Absolutely.
And it makes sense.
I, I do think there's this wholespectrum of, you know, alpha heroes who
(25:00):
have no sense of their own emotions.
And then the book is like, teachingthem that they have emotions and then
there's are they aware of their senseof responsibility for other people
and emotional responsibility forother people and then there's people,
you know, heroes who know they haveemotions, but just are struggling
with how do I communicate about this?
(25:20):
Yes, yes.
Yeah.
And that's hard sometimes to layer allof those things together successfully
yeah, it can be a fine line sometimeswhich is why I love reading other
people's books to see how they do it.
Absolutely.
All right, well, one more question beforewe go to the love it or leave it game.
Okay.
In the Sweet Valley High series,was there one of the twins
(25:43):
that you identified more with?
Absolutely, Elizabeth.
Jessica was so fun to read, butit gave me anxiety sometimes.
The things that she would say and do.
I'm just like, why is she being so mean?
Why?
She's so privileged.
She's so lucky.
And she's not treatingpeople as good as Elizabeth.
(26:08):
Elizabeth was a bit of a Mary Sue.
It's almost like if the twoof them came together, they'd
be kind of a perfect person.
They're two very much like theangel on the shoulder and the
little devil on the shoulder.
I don't know.
I loved them both.
But as far as who did,who did I relate to most?
Probably Elizabeth.
I was a pretty good kid.
Yeah.
All right, well, I think it'stime to play Love It or Leave It.
(26:31):
Perfect.
[Musical Interlude]
So, do you love it or leave it?
Protagonists meet in thefirst 10 percent of the novel.
Love it.
In my opinion, it's necessary.
I don't have the attention span to readbooks where they don't meet early on.
I get a little bit bored.
So I think I leave it.
(26:53):
intentionally write that way as well.
All right, love it or leave it,dual point of view narration.
Love it, especiallywith historical romance.
I'm totally fine with first person in anyother genre, historical for some reason.
For me, I guess I'm a purist.
I just love the, the dual third person.
It's mine.
(27:13):
All right.
Love it or leave it thirdact breakup or dark moment.
Love it.
Hard to write.
Love to read it.
I don't think it's necessary inevery book, but I do love it.
I do.
Yeah.
All right.
Love it or leave it.
Always end with an epilogue.
(27:34):
I don't, I know that's kind of arule I don't agree with necessarily.
I love reading epilogues, and I've neverwritten anything that did not have an
epilogue, so I guess love it, but Idon't feel mad when there isn't one.
Okay love it or leave it, always shareyour research in the author's note.
(27:58):
Leave it I love reading that,but I've never done that before.
So I guess for myselfpersonally I don't know.
Is there a third option?
Fair enough.
And are there any other romancerules I didn't ask that you like
to break or at least play with?
You know,
not really.
The only rule I ever remember hearing as akid, and I think that's, I think it's gone
(28:21):
out the window so this probably isn't evenrelevant anymore, is write what you know.
Which I find such a strange writing rule.
I guess, I guess that's whereresearch comes in, but when you're
writing a historical romance youliterally can't really know anything
so that would be the only rule.
I don't like that.
I don't think there'sanything I really break.
I'm very new still as a writerSo I'm very much following the
(28:45):
rules while I'd still become
learning them so you can break them later.
Exactly.
Exactly We'll do a follow up ina few years and you'll be like,
this is the rule I'm breaking.
This is the rule I'm breaking.
Oh my god, break all therules From out the window.
Yeah, right now, no.
I think I'm just trying to,you know, finish a book.
(29:07):
Which is hard.
Very,
fair.
Well, thank you so much forplaying Love It or Leave It and
for coming on the episode today.
so much.
Where can, yeah, where canlisteners find you and your books?
So I am, my website sylviesinclair.
com and I am on Instagram at sylviesinclair writes that's really where I
(29:29):
do most of all of my stuff, but I amalso on Facebook and we have a little
author group with you as well, smut andsmut, so yeah I, I'm on there some too.
All right.
And your books are Kindle Unlimited.
Yes.
So KU readers can go gobbleup your books right now?
(29:50):
They can.
They can.
Or sign up for my, you know, I do haveone little novella on there that is
not in ku, but it's available throughmy website if you sign up for that.
So you can get a. My littlefreebie that I am currently working
on the second of that series.
Another novella works.
So.
Well, as always, listeners, I'll putthat link in the show notes so you
(30:14):
can just go click right on through.
All right.
Sylvie, thank you so much.
This was awesome.
I had so much fun.
Thank you so much for having me.
It was really fun to chat with 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.
(30:35):
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 today tohave Sylvie Sinclair with us.
Sylvie cut her teeth on the Sweet ValleyTwins, L. M. Montgomery, and Sunfire
romances before inevitably graduating tothe classic bodice rippers of the 80s and
(00:50):
90s, which she kept hidden under her bedfrom her disapproving mother for years.
The romance and adventure in thesebooks inspired her to write her own
love stories, with strong heroines whoknow their own mind, and the heroes
who wouldn't have it any other way.
She lives in California with herown cinnamon roll hero, and their
(01:10):
two spoiled rotten rescue cats.
When she isn't writing or reading, shecan usually be found watching Melrose
Place with a glass of red wine in handor puttering around in her flower garden.
Sylvie, thank you so muchfor being here today.
Thank you so much for having me.
I'm excited to be here.
Yeah, I'm really excited to hearyour excerpt from this Marquis of
(01:33):
mine and to get to know you better.
Yeah, thank you.
I love, don't often get a chanceto talk about my books because
I'm just naturally sort of a
private person, but I'm here andI'm gonna talk about this book
that I really loved writing.
So I yeah,
love these
characters.
That's awesome.
Yeah.
So what should we knowabout This Marquess of Mine?
(01:54):
So it is the second book in aseries following three girlfriends
who kind of grew up together.
Olivia and Griffin,they are the two mains.
Griffin is Olivia's best friend's brother.
She's known him sinceshe was a little girl.
She's always kind of had a crushon him and he's of course attracted
to her but doesn't want to be.
So the story opens in June of 1821.
(02:17):
The only reason I mention that isbecause the Christmas prior to that,
olivia had too much Christmas punch andshe sort of angled for a kiss beneath
the mistletoe and Griffin rejected her.
So that sort of comes into play a little.
Yeah.
That Christmas punch is dangerous.
So ever since then, ofcourse she was humiliated.
(02:38):
She's kind of been avoiding him.
She's also sort of moved hermatrimonial hopes to a duke.
But because Griffin's mom injuresher ankle and is usually his sister's
chaperone, she asks Griffin to chaperoneher around London, and because Emmy,
who is his sister, and Olivia arebest friends, that sort of throws
(03:02):
them together, and this scene that I'mgoing to read takes place in a London
boutique, and the three of them are inthis London boutique, although no one
is very happy about it, so that sortof leads up to this, this little scene
With our two mains kind of being meanto each other, so that's the setting.
Awesome.
(03:22):
Alright, so here we go.
" That's a pretty bonnet," Emmysaid, coming up behind Olivia and
eyeing her reflection in the glass.
"Will you buy it?" "Idon't know," Olivia said.
"Perhaps." She turned to faceEmmy and lowered her voice.
"Why didn't you warn me that your brotherwould be our escort today?" Emmy had the
grace to look mildly ashamed of herself.
(03:45):
"Because I knew if I told you,you wouldn't come." "Yes, I
would." Emmy raised a brow.
"Probably. Maybe." "Well, I thoughtit best you had no choice in the
matter," Emmy said, glancing at thefront of the shop where her brother
still stood. "You'll have to get usedto being around Griffin again someday.
You might as well start now."
Olivia turned to face the mirroragain, biting back a frown.
(04:08):
Get used to it?
Impossible.
But she knew Emmy was right.
She would have to try.
She would have to accept the factthat he disliked her and ignore it.
and refused to allow his disregardto injure her any further.
She would be a duchess soon, afterall, the wife of a powerful duke.
What did she care what amere Marquess thought of her?
From now on, she would simply be herself.
(04:30):
Silly, spoiled, flirtatious,unabashedly herself.
Perhaps even obnoxiously,if the mood should strike.
She shoved Griffin from hermind and studied the bonnet
again with a critical eye.
"Do you think this bonnet suits me?"
She asked Emmy.
"You don't think it's a touch too frilly?"She adored the bonnet, but even she had to
acknowledge that frills could be overdone.
(04:53):
Emmy copped her head to one side,studying Olivia's reflection.
"No, I don't, but perhaps we need athird opinion, a male one." Before Olivia
could stop her, Emmy turned and calledout Griffin's name, beckoning him over.
"Emmy, no," Olivia hissed.
"That isn't necessary."But it was too late.
Griffin was already walking overto them, his gaze on his sister.
(05:15):
Olivia drew in a breath and turned,clasping her hands at her front.
"What do you think of thisbonnet?" Emmy asked her brother.
"I think it's lovely, simplyperfect for a drive through the park
with a certain gentleman caller.
But Olivia isn't so sure.
What do you think?" Griffin's gazeflicked from Emmy to the bonnet to
Olivia's face, and she could feel hercheeks warming beneath his perusal.
(05:39):
The seconds felt like hours as heconsidered her answer, and suddenly, the
weight of the moment grew uncomfortable,and the thought of hearing his
opinion was simply too much to bear.
She could not stand anotherof his veiled insults, or
worse, an insincere compliment.
"I have no need for your brother'sopinion," she said lightly, as she removed
(05:59):
the bonnet and returned it to its perch.
"He and the Duke have vastly differenttastes, after all," she said about
securing the ribbons on her ownbonnet, avoiding Griffin's gaze.
"And besides," he said, his voicedeep and laced with amusement.
"If I said I liked the bonnet, shewouldn't want it. And if I said I
didn't, she would." Olivia cluckedher tongue and forced a serene smile.
(06:23):
"Don't be silly. That would suggest youropinion matters to me, and I assure you,
it does not." The bell on the door gave apleasant jangle, interrupting the moment,
and two women walked into the shop.
One older, the other a youngerversion, clearly mother and daughter.
"Oh, it's Miss Stanhope and her mother,"Emmy said, heading off to greet them.
"Miss Stanhope, what a beautifulshawl. You must tell me where it
(06:46):
came from." Olivia watched as Emmyjoined the ladies, well aware she
ought to do the same, but she wastoo aggravated for social niceties.
Ignoring the infuriating man at herside, she stepped around him and wandered
over to the display case of earrings,irritation thrumming through her veins.
No one tested her patience like Griffin.
(07:07):
No one.
And no matter what she did, or howhard she tried, she seemed incapable
of containing her temper with him.
Dratted man.
She knew he thought very little of her.
But why did he have to be so rude?
Why did he derive such pleasure frommocking her and provoking her temper?
Could he not simply sufferher presence in silence?
(07:27):
She stared at a pair of earringswith unseeing eyes and blew
out a frustrated breath.
He'd called her a silly, spoiledflirt, and maybe he was right,
but surely she wasn't the onlysilly, spoiled flirt in London.
So why did he dislike her so much?
When she was a little girl, he'd toleratedher as his younger sister's little
friend, and she'd been fine with that.
(07:49):
He'd ignored her more oftenthan not, but he was never mean.
It wasn't until she made her debutthat his behavior changed toward her,
as if he sensed her budding attractionfor him and sought to repel it.
A peal of giggles drew hergaze to the center of the shop,
where Emmy stood chatting withMiss Stanhope and her mother.
Griffin had joined the group, thoughshe knew him well enough to recognize
(08:10):
that he didn't want to be there.
His smile was tight, likelydue to the fact that Miss
Stanhope was flirting with him.
Her smile coy, her eyes coquettish.
Griffin shifted on his feet.
With a soft chortle, Olivia turnedback to the display case, pleased
as punch to see him suffering so.
Petty, perhaps, but she didn't care.
(08:31):
Just add it to my longlist of transgressions.
Shoving Griffin from her mind yetagain, she studied the display bearing,
searching for a pair that wouldcomplement her costume, something
in deep blue or bright green.
A slash of scarlet caught her eye,a stunning pair of earrings with
gems of bright red, violet, andorange intertwined like flames.
(08:52):
She stroked one with the tipof her gloved finger, her eyes
transfixed on the work of art.
They were bold and daring and gorgeous.
She adored them.
"Those are pretty." Olivia stiffenedat the intrusion, Griffin's
low voice invading her space.
"Yes, they are," she murmured,her tone impassive, even as
awareness skittered up her spine.
(09:12):
He was close, too close, his arms scantinches from hers, and the warmth of him,
the scent of him, seemed to be everywhere.
He reached out, his forearmbrushing her, and though it was
only their sleeves that touch, shefelt it all the way to her toes.
"I like the purple pair, too," he said.
"They would make your eyes shineeven brighter, I think." She
(09:33):
blinked, captivated by the sightof his gloved fingers skating over
the amethyst beads like a caress.
A compliment from the Marquess of Keswick?
Surely she was dreaming.
Bemused, she looked at him,wary of what she might find in
those dark gray eyes of his.
But for once there wasno mockery, no judgment.
"Thank you," she said softly.
(09:54):
"I-" Another peal of giggles eruptedbehind them, and Olivia turned at the
sound, peering over her shoulder intime to catch Miss Stanhope sneaking a
glance at Griffin with covetous eyes.
Her gaze snapped to Olivia's,and her lip thinned before she
looked away, her nose in the air.
"Ah, there it is. The reason forthe anomalous compliment. You found
(10:16):
yourself a new admirer, I see,"Olivia said crisply, turning back
to gaze at the earrings again.
"Is that why you're here, paying mefalse compliments? You're hiding from the
girl?" She shot him a sidelong glance,masking the hurt behind an amused smile.
Griffin's gaze met hers, then dippedto her mouth and lingered for a beat,
before falling to the display case.
(10:37):
"Gentlemen do not hide," he corrected.
"We evade." His tone was light, thoughhis voice had deepened to gravel.
"Oh, yes, of course." Olivianodded with faux solemnity.
"How silly of me." Absently, shereached out and systematically
straightened the row of earrings withher forefinger until they all fell
in line like good little soldiers.
(10:58):
Another burst of female laughtertrumpeted behind them, startling
her, and she snorted a laugh, hershoulders shaking with suppressed mirth.
"It isn't funny," Griffin grumbled.
"Oh, but it is," she saidthrough trembling lips.
"I feel as though I've walked intothe middle of a mating ritual."
A muscle ticked in his jaw.
"This is why I avoid places likethis. It isn't safe for me here, with
(11:21):
all these women around falling at myfeet." Olivia shot him a dubious look.
"Falling at your feet?" He shrugged.
"Practically." She huffed out a laugh.
"Well, you can hardly blame the girlfor trying to catch you," she said.
"You are single, after all,and..." "and devastatingly
charming, dangerously handsome?"
His half smile was both in spades.
(11:43):
But Olivia ignored it and rolled her eyes.
"Deliriously rich, then," Griffin offered.
She smirked.
"I was going to say a marquess" He cockedhis head to one side, his gaze quizzical.
"Meaning what?
That women wouldn't want me asmuch if I weren't a marquess?"
"No," she said cheerfully, "meaningthey wouldn't want you at all."
(12:05):
A reluctant smile tugged at thecorners of Griffin's mouth, and
Olivia couldn't help herself.
She smiled back at him.
Their gazes held for a moment, and sheallowed herself the luxury of admiring his
eyes, stormy gray, mischievous, arrogant.
Wholly irresistible.
Resist.
She turned from him, her heart thuddingin her chest, ridiculously affected
(12:27):
by the man beside her, despite hisopinion of her, his rejection of her.
Fool.
Drawing in a slow, brain clearing breath,she moved farther down the long table of
goods, past the earrings and gloves, untilshe came to the display of hand painted
silk fans, nestled into one corner.
She paused to admire the colorfulassortment of butterflies and blossoms
(12:48):
and seascapes, each design unique andexpertly painted, and so beautiful people
traveled from all over England to buy one.
"I'll have you know," Griffinsaid, coming up beside her, "my
company is highly sought after.
I'm told I make a charming companion."His voice was low but light, his big
body dwarfing the already crowdedspace, and self preservation had
(13:11):
her shifting away from him as faras the little corner would allow.
"Are you indeed?" She askedmildly, picking up a fan
painted with purple pansies.
"I wouldn't know. You've certainlynever tried to charm me." He
cocked his head to one side,slipping his hands in his pockets.
"Would you want me to?" Yes.
The word teetered on the tip of hertongue, but she swallowed it whole.
(13:34):
And then she lied.
"Of course not," she said, studyingthe fan with feigned interest.
"And anyway, it would be an exercisein futility. I am immune to your
charms." She could feel his eyeson her, a whisper of awareness
prickling at the nape of her neck.
She forced her chin up to meet his gaze.
He arched one brow, and a smiletoyed with the corners of his lips
(13:56):
as his gaze dipped to her mouth.
"I think we both knowthat isn't true, Olivia."
ooh!
That was really fun, full of like funbanter, but also the feels of the angst.
Like you really bridgedboth of those things.
Oh,
thank you.
I do love some angst.
I think I lean a little too hard intothe angst sometimes, but I just love it.
(14:17):
I eat it up.
What is romance without angst?
I know!
You know, can there ever be too much?
I don't think so.
Well, I have a lot of questions foryou, but first we're going to take
a quick break for our sponsors.
Do you like audiobooks?
How about your localindependent bookstore?
If your answer to either of thosewas yes, then you should make sure
(14:38):
to check out the official HistoricalRomance Sampler playlist over on libro.
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Follow the link in my link tree to checkout the playlist and start shopping.
(15:21):
And now, back to this week's episode.
Alright, so we are back with SylvieSinclair, who just read an awesome
excerpt from This Marquess of Mine.
And one of the things that really, Iloved about that was this feeling of
the banter and they're, you know, likereally going for this, like, kind of like,
oh, we're enemies vibe, but they bothclearly have full feelings for each other.
(15:45):
And it also was giving me alittle bit of the Darcy Elizabeth
Bennett, you know, there's a lotof misunderstanding going on.
So can you talk to me a little bitabout where this story started and how
your stories typically come to you?
You know, I dialogue is just whereI feel I come alive the most.
(16:07):
The other stuff is necessary, you knowsetting the scene and all of that, but
dialogue for me is just, I love it.
So if books could just be all dialogue, Iwould have 30 books out by now, probably.
I just love it so much.
So I really think that when I'mthinking about plot, that's a lot
(16:30):
of where I come from, is I'm reallythinking, what gets me excited?
What interactions between thetwo mains are going to really
get my creative juices flowing?
And that's really sort of the precipicefor a lot of my plots, is starting with
those little nuggets of I love banter.
I know not every book canhave banter, but I love it.
(16:51):
And so I really think that'skind of where it started.
And, and you meet Olivia and Griffinin book one of this series, and you
can tell there's some history there.
They're never cruel to each other, butthey're definitely pick at each other.
And so I, yeah, I kind of threadedthat through the first book sort of
(17:12):
hinting at what terrible things I willdo to these two characters to get them
to come together, so, in this book.
Yeah, well, one of the tricks of dialogueis to have the character saying something,
but then to explore everything they'renot saying, and why they're not saying
it, and all that yummy goodness, andyou really achieved that in this scene.
(17:33):
Oh, I do think that's can be challenging.
It really is challenging, but it'sreally fun to sort of thread or
sort of say things, convey something
when the character is saying theexact opposite, I find subtext,
I just think that is delicious.
I love, I love good subtext.
(17:55):
I love to read.
I love to write it.
Yeah.
And one of the things that was reallygrounding this scene was the physical
things that Olivia was interactingwith, like the jewelry and the fans,
which you mentioned, like, you know,in this universe, people come to that
store specifically to buy those fans.
Are those grounded inresearch that you've done?
(18:17):
Yes, I love Regency, or any,really any historical accessories.
If I had all the money in theworld, I'm sure I'd have a whole
house of just antiques and fashion.
Not that I'm a fashionable person, butI love to look at beautiful things,
and I just think the Regency hadsome of the most amazing accessories.
(18:40):
Just, I would love anaccessories room of just Regency.
So yeah, a little bit of,of research went into that.
I, I do love makingcharacters touch things.
I find that very helpful in conveying,again, with subtext and sort of their
body language conveying what they'reactually feeling, even if their dialogue,
(19:04):
their words are the exact opposite.
So I, I do like to use setting inthat way, it feels very intimate
and like it can convey a lot.
So I like to really like doing that.
I remember in an acting class I took inmiddle school, they showed us a scene
from high society with Grace Kelly, andthey were pointing out to us how she was
(19:26):
having this dialogue with someone, butthe whole time she was moving her head.
A handkerchief through herhands and they were like, pay
attention to the handkerchief.
That is how she's expressing her emotion.
Oh, fascinating.
So that's.
It's a cute movie.
I'll have to look at that scene.
Yeah.
It's a
great
movie.
Oh
my
gosh.
It's a
great movie.
Yes.
(19:46):
I love
old movies.
Okay.
So, so what is your generalresearch process or approach to
research for the Regency period?
You know, I.
find I can get toobogged down in research.
So this is probablygoing to sound terrible.
I actually have to step back fromdoing too much research because
(20:10):
I find that's all I want to do.
And then I just magicallywant the book to be there.
I'm sure, I'm sure we all feel that way.
So I try not to do a wholelot of research unless it's
something that I'm afraid to do.
of putting in a bookthat didn't exist yet.
Then I will do more research.
(20:32):
But a lot of what I draw on, andthis is probably not advisable, is
my 30 plus years of reading romance.
I kind of use that as my sortof base knowledge, even though
they were written by authors whoare infallible like we all are.
But for me as a reader,historical accuracy.
(20:55):
If it's egregiously inaccurate,it pulls me out, but I'm not a
huge stickler for everything beingperfectly historically accurate.
So I guess what I'm saying isit's a fine balance for me.
I do love research, but I can't letmyself go down the rabbit hole too
much where I'm already a slow reader.
(21:16):
The book would literally takeme five years to write if I let
myself do too much research.
Oh, I understand that impulse.
So you mentioned, you know, you've beenreading romance for 30 years and in your
bio, you, you mentioned a few of thevery foundational, but are there any
historical romance authors specificallythat you kind of hold up in your head as
(21:38):
that's the person I want to write like?
Oh, you know, not, not necessarilyfrom, from that long ago, just because
we read through a different lens now.
A lot of the books from the 80sand 90s were very problematic.
At the time, I thought they were thepinnacle of the types of relationships
(22:02):
you should, you know, aspire to.
Judith McNaught was my biggie.
I devoured all of her books.
But she has a lot of dubiousconsent in her books.
The same kind of with Julie Garwood.
I love how they write these big sweepingromances that are like 500 pages long,
(22:23):
which also wouldn't fly nowadays.
So while those were kind of myfoundational authors and I still hold
a very special place in my heart forthem, it just doesn't work as well today.
Nowadays Julianne Long and EloisaJames And Beverly Jenkins are
all, I think, three authorswho could not be more perfect.
(22:45):
At least from my own personal tastesin what I look for in romance just
their dialogue, their sexy scenes,everything, they're all just chef's kiss.
So, I can get even halfway as goodas any of them any time in my life.
I will.
I don't know what God I would havesacrificed something to, but anyway,
(23:08):
I, those three are fantastic.
Yeah, I like that.
Well, and you mentioned in yourbio, you know, being a big fan of L.
M. Montgomery, who of course wroteAnne of Green Gables, the series.
So Gilbert Blythe, I considera cinnamon roll hero.
Perhaps the ultimate and just amazing.
(23:31):
Do you, so since you've, since you'rea huge fan of Anne of Green Gables and
supposedly, I assume Gilbert what'syour favorite kind of hero to write?
Do you gravitate towards cinnamon rollheroes or do you prefer alpha heroes?
That's a great question.
I've never really thought about it before.
(23:51):
I don't know that I write alphas.
That's a very special type of herothat can either be very well done,
where it's like the sexiest thingyou've ever read, Or you are like,
why is this man not in jail right now?
So I think what I like, even if myhero heroes are a little bit more alpha
(24:13):
inside, they're always a cinnamon roll.
I guess I'll just say it, I'm,I'm a pretty big feminist.
Consent is a big thing for me in my books.
So I have a hard time writing ahero being toxic or predatory.
Those just, that's just not my jam.
I'm not here to kink shame anybody.
But so I think even if my heroes sometimescome across as a bit alpha, they are
(24:39):
always a cinnamon roll on the inside.
I can't write the gooey center.
All in all, I just can't writea hero who's not maybe at his
core at least a good person,if that answers your question.
Yeah, it does.
Absolutely.
And it makes sense.
I, I do think there's this wholespectrum of, you know, alpha heroes who
(25:00):
have no sense of their own emotions.
And then the book is like, teachingthem that they have emotions and then
there's are they aware of their senseof responsibility for other people
and emotional responsibility forother people and then there's people,
you know, heroes who know they haveemotions, but just are struggling
with how do I communicate about this?
(25:20):
Yes, yes.
Yeah.
And that's hard sometimes to layer allof those things together successfully
yeah, it can be a fine line sometimeswhich is why I love reading other
people's books to see how they do it.
Absolutely.
All right, well, one more question beforewe go to the love it or leave it game.
Okay.
In the Sweet Valley High series,was there one of the twins
(25:43):
that you identified more with?
Absolutely, Elizabeth.
Jessica was so fun to read, butit gave me anxiety sometimes.
The things that she would say and do.
I'm just like, why is she being so mean?
Why?
She's so privileged.
She's so lucky.
And she's not treatingpeople as good as Elizabeth.
(26:08):
Elizabeth was a bit of a Mary Sue.
It's almost like if the twoof them came together, they'd
be kind of a perfect person.
They're two very much like theangel on the shoulder and the
little devil on the shoulder.
I don't know.
I loved them both.
But as far as who did,who did I relate to most?
Probably Elizabeth.
I was a pretty good kid.
Yeah.
All right, well, I think it'stime to play Love It or Leave It.
(26:31):
Perfect.
[Musical Interlude]
So, do you love it or leave it?
Protagonists meet in thefirst 10 percent of the novel.
Love it.
In my opinion, it's necessary.
I don't have the attention span to readbooks where they don't meet early on.
I get a little bit bored.
So I think I leave it.
(26:53):
intentionally write that way as well.
All right, love it or leave it,dual point of view narration.
Love it, especiallywith historical romance.
I'm totally fine with first person in anyother genre, historical for some reason.
For me, I guess I'm a purist.
I just love the, the dual third person.
It's mine.
(27:13):
All right.
Love it or leave it thirdact breakup or dark moment.
Love it.
Hard to write.
Love to read it.
I don't think it's necessary inevery book, but I do love it.
I do.
Yeah.
All right.
Love it or leave it.
Always end with an epilogue.
(27:34):
I don't, I know that's kind of arule I don't agree with necessarily.
I love reading epilogues, and I've neverwritten anything that did not have an
epilogue, so I guess love it, but Idon't feel mad when there isn't one.
Okay love it or leave it, always shareyour research in the author's note.
(27:58):
Leave it I love reading that,but I've never done that before.
So I guess for myselfpersonally I don't know.
Is there a third option?
Fair enough.
And are there any other romancerules I didn't ask that you like
to break or at least play with?
You know,
not really.
The only rule I ever remember hearing as akid, and I think that's, I think it's gone
(28:21):
out the window so this probably isn't evenrelevant anymore, is write what you know.
Which I find such a strange writing rule.
I guess, I guess that's whereresearch comes in, but when you're
writing a historical romance youliterally can't really know anything
so that would be the only rule.
I don't like that.
I don't think there'sanything I really break.
I'm very new still as a writerSo I'm very much following the
(28:45):
rules while I'd still become
learning them so you can break them later.
Exactly.
Exactly We'll do a follow up ina few years and you'll be like,
this is the rule I'm breaking.
This is the rule I'm breaking.
Oh my god, break all therules From out the window.
Yeah, right now, no.
I think I'm just trying to,you know, finish a book.
(29:07):
Which is hard.
Very,
fair.
Well, thank you so much forplaying Love It or Leave It and
for coming on the episode today.
so much.
Where can, yeah, where canlisteners find you and your books?
So I am, my website sylviesinclair.
com and I am on Instagram at sylviesinclair writes that's really where I
(29:29):
do most of all of my stuff, but I amalso on Facebook and we have a little
author group with you as well, smut andsmut, so yeah I, I'm on there some too.
All right.
And your books are Kindle Unlimited.
Yes.
So KU readers can go gobbleup your books right now?
(29:50):
They can.
They can.
Or sign up for my, you know, I do haveone little novella on there that is
not in ku, but it's available throughmy website if you sign up for that.
So you can get a. My littlefreebie that I am currently working
on the second of that series.
Another novella works.
So.
Well, as always, listeners, I'll putthat link in the show notes so you
(30:14):
can just go click right on through.
All right.
Sylvie, thank you so much.
This was awesome.
I had so much fun.
Thank you so much for having me.
It was really fun to chat with 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.
(30:35):
Until next week, happy reading!
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