S2 E32 - Ava Bond Samples The Lady

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Ava Bond Samples The Lady

Katherine Grant: [00:00:00] I am so excited to be joined today by Ava Bond from Scotland. Ava has been a lover of Regency romance novels and historical romance since her youth. Of course she enjoyed Jane Austen and the Bronte sisters, but she also devoured Georgette Heyer when the opportunity presented itself and when she was older, she discovered Joanna Lindsay and Lisa Kleypas and has not looked back since.

She especially loves to read and write historical romances with sharp dialogue, good use of the enemies to lover's trope, a class divide, and anything with a splash of danger and suspense. Ava lives in Scotland with her family and their small cat Gwen, and alongside a good book, she also enjoys a cup of Earl Gray Tea.

Ava, thank you so much for coming on the podcast.

Ava Bond: Thank you so much for having me. Yeah, I am [00:01:00] super excited.

Katherine Grant: You are reading to us today from the last book in your current series.

Ava Bond: That's right, yes. The lady. Yeah.

Katherine Grant: And this is a little bit of a sneak peek because it's coming out in September. So what do our listeners need to know about the series and what do they need to know about the book before we get into the scene?

So it is a four part series. It's called Daughters of Dishonor. And within the series I kind of wanted to play with complimentary story elements. So for my opening novella, which is available for my subscribers, it centers around a ruined woman and a virgin hero. And I wanted to play with elements, romantic drama, and that's called.

For my full length novel in this series, it's more of a romantic mystery than heist, and that one's called the Rake, and obviously it has like a libertine hero and a wallflower heroine, and they team up to solve a murder mystery, kind of using a sort of [00:02:00] treasure hunt through the the London season. Which is a lot of fun to write.

And in my third one in the series, I blend in the Gothic and it's set in Cornwall and I have an experienced heroine and a surprise heir to a Dukedom. And that book's called the Duke. And then in my last, the one I'm gonna be reading from today, it's a novella and it's a romantic comedy, and I bring in themes and tropes of first love and infatuation alongside a matchmaking scheme, and a class divide and a plot for revenge.

And as I said, this one's called The Lady.

That's so interesting. All right, so let's hear the lady.

Ava Bond: Lovely.

Okay. This is the opening of the book, the Lady, Daughters of Dishonor. My heroine is 17 years old and she has a crush on an older and charming doctor called Philip Caton. Caton happens to be the illegitimate half brother of an Earl, and they are at a family wedding where she's trying to [00:03:00] impress him.

Desperately, ignoring the pit of nerves in her stomach, Flora tried to think of something to say that would grab and hold the doctor's attention. Could she faint? Fall into his arms? Surely, as a doctor, he would leap to rescue. Wasn't there something so heroic about loving a physician? Dr. Caton looked to be leaving.

In fact, he started to say, "excuse me."

"It must be nice to finally have a wedding in your family?" Flora asked, her emphasis falling on the wrong word as she forced herself to speak before he left the group. As her question lingered, she realized it was the very last thing she meant to say. As soon as the words were spoken, she saw that Dr.

Caton would've taken this question as a personal affront on his own legitimacy. Of all the stupid, silly, childish... [00:04:00] "I believe everyone enjoys a wedding, my lady. Excuse me. I see Langley is calling me." Caton bowed and departed and Flora crawl into the nearest cupboard and hide, but she couldn't.

"I understand you helped with the wedding,"

Mrs. Keaton said. Flora nodded, trying to brighten. "I did." She was about to launch into a reminiscence of the modiste, but then she saw both Langley and Dr. Caton slip out of the grand parlor. Flora suddenly knew she had to follow them. There was a need to change the doctor's opinion of her. "Please, excuse me, madam."

Hurrying after the departing men, Flora rushed down the long corridor after the two brothers. She heard a click and realized they had walked into Langley's study. Flora crept forward, uncertain of what to do next. She could hardly go and knock on the door and ask Langley if she might come in.

"Congratulations," she heard [00:05:00] Dr. Caton say as she paused by the doorway listening intently.

"And you swore it would never happen," came Langley's languid response.

"In fairness, I only said that because you swore to it all the time." Caton laughed and added, "Mother will never forgive you for inviting me." Flora shifted on her feet knowing she should move away, but also conscious that this might be one of the last times she could hear Caton.

When after all, might she get another chance? Their voices dropped and Flora thought she caught one of them curse, although she could not swear to who. Then she was certain Caton laughed and said quite clearly, closer to the door than Flora would've liked, "you've certainly married into a wide and well connected family."

"Indeed, the young lady Flora seems transfixed by you." Vivid hot embarrassment pulsed through [00:06:00] Flora as she heard her reaction described by Langley with such knowing amusement in the Earl's tone that she cringed. Her interest in the doctor. She thought she'd managed to hide it carefully throughout the day.

She should run and hide, and yet she clung the faint hope that Dr. Caton might come to her rescue. "She's just a child."

"Girls of her age are married, at least amongst the ton."

"In that case, I shall leave the chit to one of the numerous gentlemen who do not mind having a foolish wife," Dr. Caton said, his dismissive statement fairly breaking Flora's heart.

Forcing herself to take a series of steps away from the study, one footfall after another, she replayed what the doctor had said about her, dismissing her, belittling her, and how he could never possibly care for someone like her. When she pushed her way back into the grand parlor, amongst the [00:07:00] swirling happy wedding guests, her resentment curdled away and Flora was sworn to vengeance.

She snatched up a glass of nearby champagne and raised a toast to her new promise: "Dr. Caton, you will rue the day you said that about me."

Chapter two, Mayfair. July 1823, some 10 years later.

Dr. Philip Caton was walking briskly along the streets of Mayfair. It was the final few weeks of the season and soon his easy treatment of the more luxurious and pampered laies of the beau monde would cease as the Lords and their wives headed off to their various country estates.

It was a straightforward way of making money, working with the ton. Besides, they paid enough so he could accept non-paying poorer clients. In this balmy afternoon light, he made his way back through Green Park, enjoying the sights. [00:08:00] He might stop at Fortnum's for a pleasing cup of tea and a slice of rich walnut cake. Somewhat unaware of his motives or surroundings,

Philip turned down Bolton Street where his oldest brother's home was located. The beautiful mansion had changed in the last 10 years. Pausing to look up at the facade, Philip experienced a tug of envy for his brother's married life and his happy young children across town on Marchman Street.

No such bustling friendly homestead awaited his return. Just the company of his elderly housekeeper, Mrs. Walton, and her niece. It made for a comfortable place, but not one he could feel especially sentimental about. At 36, he had always hoped he would have a home, but life had not worked out that way.

Philip's footsteps stopped as he looked at the passenger lighting from the paused carriage close by. An elegantly dressed woman descended from the barouche. [00:09:00] Her lady's dress and frock coat were a soft lilac color. Her blonde hair gleamed richly in the sun beneath a neat little plumed hat. Her expression was all serenity

as she smiled and thanked the footman whilst the man helped her down. Lady Flora Fitzsimmons. Recognition crashed through Philip. His sister-in-law's cousin. Yes, that was right. That was how he was connected to such a grand lady. He had met her years ago. Not that she would remember that. She had been a tall, skinny, blonde chit he fancied. If there had been any short-lived fancy on her part, it must have passed very quickly when she had seen how much better she might do for herself amongst the gentleman of society. She seemed in no rush to wed unless she deemed it necessary, and clearly none of the gentlemen or the nobles had pleased her

yet. Philip started to march forward, that slice of cake awaiting him, when a feminine gloved hand shot [00:10:00] out and grabbed his arm, holding him in place. Her grip was surprisingly strong. When he turned back, he found his gaze locked on a gentle oval face with a softly pointed chin and catlike eyes darker than he might have originally thought.

Finally, there was a firmly sensual pout of a mouth. Suddenly he was awash with a delicate but fragrant smell of jasmine that came from her. He had years ago dismissed her as a pretty silly girl, but now she was all woman and all the better for it.

"Dr. Caton." Lady Flora had a pleasing voice melodious, and he noticed with a touch of guilty embarrassment on his part that there was a note of voluptuous texture to the sound.

"I did not expect you here. Surely, you know Langley has already left town."

"Yes, my lady. My business in Mayfair did not involve his lordship."

"Did you mean to hurry past me without even saying [00:11:00] goodday?"

"No indeed," Philip lied.

"I rather think you did." Lady Flora laughed, her mirth teasing and light in a manner which confused Philip immensely.

She released his arm and gestured towards the nearby townhouse where her own brother and his family lived. "As always, you are a man of business rushing here and there and everywhere. Never a stone or coin unturned." Several steps above where they stood on the street, the front doorway to the Duke of Ashmore home opened and the butler moved onto the first step, ready to usher

Lady Flora inside. Behind the servant came a short, sharp bark, and a black spaniel, perhaps a little elderly and uneven in his gait, rushed down the steps, eager to reach its owner. His mistress let out a gasp of surprise, and said lovingly, Lancelot!" as the spaniel crushed into her legs, sending her flying.

Phillip instinctively grabbed at her, snatching at her hands before [00:12:00] trying to catch her to him. But Lady Flora's leg had given way beneath the dog's urging. Philip saw with dismay, as he pulled her upright, there was a small circle of blood pooling through the gown where her kneecap must have buckled and hit the pavement.

"Carry her inside."

Philip heard one of the grooms say, and believing this to be an excellent idea, he bent and scooped up Lady Flora, proceeding up the steps into the Mayfair residence.

"I find this attention unnecessary," Lady Flora said from her position in his arms. Determined not to be undermined, philip made for the nearest door, kicking it open, as the servants were still outside dealing with the dog and the carriage.

Thankfully, he had selected a salon, which happened to possess a large plum settee. Not especially big, but big enough to accommodate Lady Flora's frame. "Your dog is misnamed," he said as he walked over to the sofa and lowered his charge down onto the cushion seat.

"I did not name him. [00:13:00] That was my sister-in-law's choice.

The Duchess is not at home at present to be blamed for her error." Having deposited her, Philip looked around the salon. Where was a chaperone? In his distraction, Lady Flora leaned over her knee and gently touched her injury. She flinched. Casting aside such worries of propriety, Philip dropped down onto his knees before her.

He realized as he looked up into her face that this was the traditional pose of a proposal, which explained why Lady Flora laughingly said, "That is a little much surely, Dr. Caton."

Katherine Grant: Ooh, how fun.

Ava Bond: I hope so.

Katherine Grant: Yes, absolutely. That was a fantastic excerpt and I have questions for you, but first we're gonna take a quick break for our sponsors.

Katherine Grant: I am back with Ava Bond, who just read a [00:14:00] sample from The Lady, which is the final book in Daughters of Dishonor, and it's coming out this September. It was a very fun excerpt. The first part of it was very pride and prejudice coded for me.

Ava Bond: Oh, yes.

Katherine Grant: And then in the second part where we're in Philip's head, I was really picking up on those class differences and without him really explicitly saying it, seeing through his eyes all the things he doesn't have that Lady Flora does.

Ava Bond: Mm-hmm.

Katherine Grant: So, I guess where I wanna start is, you mentioned class differences in your bio as being one of your favorite things. What makes it so delicious? What's your opinion on that?

Ava Bond: I suppose because a lot of our readers, it's a bit of a class divide, isn't it? Because, you know, unless everyone else reading it is a sort of lady or a gentleman, we're wanting to get into that world.

We're looking at sort of the beau monde, the ton and being like, oh, [00:15:00] that would be wonderful to fall in love with the Duke. So I think that's part of it. And I think another part is, I mean, I've always loved sort of the fairytale influences and the classic is Cinderella and,

and I think it's that desire to be part of another world. It's a sort of part of the escapism, isn't it, to feel like that sort of wanting for something different, something you don't have. And I also think as a writer, it brings in immediate tension because you have immediately a good reason why these two people can't be together.

There's going to be opposition from his family, from hers, from the, the sort of wider society, from things that the, the lower class or the, the person who's coming in from it, the outsider doesn't know. So yeah, it's, it's immediate conflict, which as a writer and, and for readers is quite fun to play with.

Katherine Grant: Yeah, that's really, that's really good insight. As you were describing your series, you were very specific about how each book [00:16:00] kind of has its own vibe. There's the treasure hunt, there's the gothic, this is the romantic comedy. How much of that did you know going into planning the series and did you have fun jumping from one type to another?

Ava Bond: I had a lot of fun and it did involve a bit of research to sort of pin together some sort of the different parts of London for some parts of it. And then when I was writing down in Cornwall as well. So yeah, it was kind of like the writer's dream as far as I was concerned.

Katherine Grant: And did you, as you were planning, this is gonna be my, you know, adventure, romance, this is gonna be my gothic, since you've read so much, were you thinking, this is my Lisa Kleypas book, this is my Georgette Heyer book.

You know, were there specific texts that you were bringing in and how did you approach that?

Ava Bond: I definitely think that, you know, the, the modern writers and, and the classics they definitely like play a part like I think I, you, you like mentioned the Kleypas, who I love.

And another one is Johanna Lindsay. I think my favorite one is, is probably the [00:17:00] Gentle Rogue, and I love the sort of, the way that she would, would blend in a lot of adventure with a lot of sort of I wanna say swash buckling elements which I really enjoy. But I hope I also can kind of, I, I include some sort of the sort of more modern references.

I was gonna sort of talk about sort of passion of like Elizabeth Hoyt, and some of Caroline Lee with her humor. And Lauren Smith with her storytelling, like this is like some of my favorite authors. So I hope I bring in some of this stuff.

The things that they bring to the genre as well.

Katherine Grant: Yeah. When laying out this story, did you know what research you needed to do for each book? And at what point did you start doing your research? How does it fit into your creative process?

Ava Bond: A lot of the research I do is sort of is generally... a lot of my books, not all, but a lot, are set in London and about the, about the high society.

So I will sort of have an ongoing back catalog. Some behind me of some of the books that I'm, I'm reading. And that might be like [00:18:00] biographies of interesting famous people from the era. So next on my list is Antonia Fraser's Lady Caroline Lamb. I'm really looking forward to reading.

And she, she had this torrid affair with Byron, so it's gonna be great fun. But I also, I, I love reading just everything about the sort of different parts of society. So there's, I've just finished one called the Hellfire Clubs, which is much more sort of Georgian focused. But I love bringing in different elements and I know little strands from every bit of research that you, you read and they kind of feed into the work that you do, or at least in my case, they do.

I think that another element is I do read a lot of other authors. I think I've flagged some already and they obviously play a part. And then I think, so the upcoming series I'm working on, which is gonna be out next year that one wasn't set in London and isn't set in London. Almost all of it is set in Dorset.

And so that required a whole different level of, of research because a lot of it's about [00:19:00] smuggling, which is something I dipped into previously, but I really had to know how a lot of the gangs worked and more than just how the gangs worked, sort of how the custom officers, 'cause there wasn't a police force back then, how they worked.

So yeah, I really enjoy research and reading, and it's really hard not to go down rabbit holes and realize you spent sort of two hours looking up some obscure author or scientist from 200 odd years ago.

Katherine Grant: That's very exciting. I love a smuggler story. I can't wait for that. Oh, thank you. And, and have you found, is there typically something when you're about to write a story or you're ideating on a new story, is there something that pulls you in for writing it?

Ava Bond: I think it's usually the characters and I guess the initial spark of what draws them together. Because I think that's the most important thing in any romance. Like, I, I love talking about the genre, I love talking about the research, but the most important thing in a romance is the, is the two people who are going to fall in love.

And [00:20:00] I, I love that. So it's, it's why are they interested in each other? Why do they meet? Why is there, in my case, usually a clash? Because they're often, not always, they're often enemies to lovers. Or even if they're not, why is there that attraction? So is it that they. I'm just trying to think of a good example.

So in The Rake, she storms in on him during an orgy. And so you not think that that would be initial spark. But she has to keep seeking him out 'cause she needs his help. So that, that, I love that idea of like, oh no, you are the worst person in the world, but I'm going to seek you out anyway. One of my other books she's breaks into White's because she's determined to know why she's not eligible and he sees her and she's dressed as a boy and he knows immediately who she is.

And they can't stand each other and it goes from there. So I love that initial, I guess it's the meet cute. And, and what makes you just feel excited [00:21:00] about the meet cute is where I start.

Katherine Grant: Hmm. That's fun. That gives you a lot of momentum to get through the story. And what have you learned from writing this series?

You're about to put out the last book and now you've got a new story, a new series that you mentioned. What have you learned from writing this series that you're gonna take into the next series?

Ava Bond: So I guess for me I really like planning stories. I find that really helpful because I think I can often get swept away with the different ideas.

Be like, oh, I want to this trope and that trope, and I've got have a scene where there's a midnight run to Gretna Green or I've got to have a Vauxhall Gardens, pleasure Gardens. So I think having a a solid plan is a really, is something I really rely on and I think I have really enjoyed creating my author's Bible.

Which is a bit technical, I guess, but I love in, in the Dorset one that I'm, I'm bringing out next year, or I should say Dragon Blade are bringing out next year, it's all set in [00:22:00] Dorset and I, I love having little kind of the characters who reoccur throughout the series.

So I've got my little doctor and I've got the butcher and I've got the guys who, who's the maid at the hotel, and they're only little minor characters, but I feel like if I've got that sort of through line, it kind of builds up that world and, and sort of makes it more immersive. At least that's what I'm aiming to do.

Katherine Grant: Yeah. That's really cool. I like that. Well, I think it's a good time to move to love it or leave it. Are you ready?

[Musical Interlude]

Katherine Grant: Do you love it or leave it? The protagonists meet in the first 10% of the novel.

Ava Bond: I

love it. I want my hero and heroine to get to know each other and yeah. Yeah, definitely for that.

Katherine Grant: You love the meet cute. So you need it.

Ava Bond: Yeah, it's my fuel.

Katherine Grant: Love it or leave it? Dual point of view narration.

Ava Bond: Love it. I certainly always do that in [00:23:00] my books. I think there are some romances where...

can do it. And I, I do love when Kleypas dips into other people's heads. But yeah, generally speaking, it's good to get both perspectives and see where the other person is with, with the relationship.

So, yes.

Katherine Grant: Yeah. Okay. Love it or leave it? Third person, past tense, narration.

Ava Bond: I think I love it. I think most of the books I read and historical romance have it.

'Cause a lot of it's built on reflection and internal monologues. So I think it works best. I'm sure there are some brilliant books out there, which are in the present tense, but I think I love, I, I love third person past tense, personally

Katherine Grant: Love it or leave it? The third act breakup or dark moment.

Ava Bond: I think I generally like it.

I dunno if I would go as far as say, love it. But I like it. I think if done well. Like, yeah. Brilliant. So yeah.

Katherine Grant: Yeah. Love it or [00:24:00] leave it? Always end with an epilogue.

Ava Bond: Mm.

I like an epilogue. I think I love them. Doesn't always have to have a baby. I know everyone always wants a lot of babies in, in the epilogues, but I don't think that's always necessary.

It's nice to see the couple, maybe like six months or couple of years down the line and see how they've kind of settled in or I don't know, maybe if you're already enjoying it, setting up the next book in the series and kind of seeing the other characters. So yeah.

Yeah,

I like an epilogue.

Katherine Grant: All right.

Love it or leave it? Always share research in your author's note.

Ava Bond: I haven't done it in my books very often, but my upcoming series, the one I've kind of flagged coming up in the future I am gonna be doing a bit of a research note. I will read it when other authors do it, especially if there's something that's kind of a bit, sort of niche or I hadn't heard of before.

So yeah.

Maybe it depends on the book.

Katherine Grant: Fair enough. And are there any other romance rules I didn't ask about that you like to [00:25:00] break?

Ava Bond: I feel like secret hidden baby gets a lot of grief, and I've occasionally used it and I quite like it. Especially as I was reading a statistic that said one in three marriages began with the bride already pregnant.

So in Regency England it was quite common. And then any rules I like to break. No, I think, I think most rules can be broken except like the golden one of you have to have a happy ending.

But I think all other ones can be, you know, tested a bit. Yeah, it's fun to play around with it as the author and I think if, if your readers are with you, it's, it's, yeah, it's enjoyable to kind of play with their expectations and Yeah. You wanna read something exciting, right?

Katherine Grant: Yeah, absolutely. Alright, well thank you for playing

love it or leave it. As we wrap up, where can listeners find you and the daughters of Dishonor series and specifically the Lady, which is coming out this [00:26:00] September?

Ava Bond: Well, the lady is currently available for pre-order and it's on Amazon. And I can share the links with you. I am on social media.

I'm usually on Instagram or Facebook. Instagram. I am instagram.com/ava bond author. And on Facebook, I am facebook.com/over bond author. And that's all one word. I do have a subscriber base. And then I have two free novels on there. One of which I mentioned earlier, the vicar. And then there's another one for my other series, which is called The Oxford Set, and there's a free novel developer for that.

And to subscribe to that, it's www ava bond.co uk and the subscriber list is just there. And all of my books are on Amazon and they're available in print and ebook and also ku. So yeah, those are my links.

Katherine Grant: Awesome. I will put a link to your website in the show notes, so listeners you can head [00:27:00] on over, sign up to get those free books and then make sure that you read all of the Daughters of Dishonor so you're ready when The Lady comes out.

Ava Bond: Thank you. That'll be lovely.

Katherine Grant: Ava, thank you so much for coming on the podcast. This has been delightful. Oh, thank you so much for having me. I really enjoyed it.

That's it for this week! Don't forget to subscribe to the Historical Romance Sampler wherever you listen, and follow us on Instagram, TikTok, and YouTube. Until next week, happy reading!