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Charlie Lane Samples Naughty for Sir Nicholas
Katherine Grant: Welcome to the historical romance sampler podcast. I'm your host, Katherine Grant, and each week I introduce you to another amazing historical romance author. My guest reads a little sample of their work, and then we move into a free ranging interview. If you like these episodes, don't forget to subscribe to the historical romance sampler, wherever you listen to podcasts and follow us on Instagram, TikTok, and YouTube.
Now let's get into this week's episode.
I am very excited. We are closing out 2026 with a special guest and a special topic. Charlie Lane is here. Charlie Lane is a USA today bestselling author who writes unique stories with unconventional characters who push against the rigid restrictions of their society. Her books are filled with Cinnamon roll heroes,
fake rakes, determined intelligent heroines, deep emotion, and lots of laughs. When she's not writing, she's a high flying circus obsessed acrobat. She lives with her own Colonel Brandon, two little dudes, and a furry fella in East Tennessee. And she was my very first interview that I ever did for the podcast, and she's finally back.
I'm so excited. And we're talking holiday romances. I'm wearing my holiday sweater. I've got hot chocolate. Charlie, what are you reading for us today?
Charlie Lane: I am reading the Prologue to Naughty for Sir Nicholas that appears in this lovely anthology. Wow. How the Bell Stole Christmas. It's. Thick. It's
Katherine Grant: thick. She, if you're not, if you don't have visuals, she's displaying the paperback and it is like a good, oh
Charlie Lane: yeah.
Katherine Grant: Two or three fingers thick.
Charlie Lane: Yeah, it's it's thick. So we've got a foundling hospital in Bristol. We have the illegitimate daughter of a Duke who has been sent there by her older brother who doesn't quite know what to do with her and he has no money.
And so she's earning her keep as a governess to these foundlings at this hospital in Bristol. And she has heard a bump in the night down in the children's dormitory on Christmas Eve, early Christmas morning. You know that, that kind of magical hour between midnight and waking . And so this is what happens when she goes into the children's dormitory.
Early Christmas morning, 1835. The arse backing through the window was well shaped indeed, but the shape or firmness of a backside hardly mattered when it was where it should not be. That arse was breaking and entering. Jane gripped her fire poker until the steel of it fit into her palms, but she did not step out of the shadows.
Not yet. For now, the hidden space smushed between a giant wardrobe and the thin but glamored curtains, yielded safety an opportunity as well to consider her next move. She'd been brought to the Bristol foundling hospital as a governess, not a guard. Surely there was someone better suited to playing hero.
She possessed no magical ability, was as plain and powerless as a person could be found. She didn't even know how to throw a punch.
She needed to rise to the occasion. There was no guards, no footmen. The hospital secretary, Mr. Jamison, had passed into a brandy induced slumber hours ago. She only remained to protect the sleeping children to her right. Little Emmy snored like a dragon. The smallest of the bunch, thin limbed, and big eyed.
She seemed somehow to always produce the most noise. To her left Timothy slept on his stomach, his bum sticking right up into the air. Another bum across the room continued its crimes. She could hit it with the poker, send it back outside, even stab it. Yes, that would work too. Perhaps even it would work best, but if she did not swing or stab with enough, she might anger instead of injure the villain to whom the arse belonged.
No matter. She had to act and quietly. If she woke the children, she might scare them. She could not continence that. Not on Christmas. Every child should feel safe then. Should feel safe always. These children knew should from reality though. They didn't expect much. Not even safety. That damning truth forced Jane out of her shadowed corner. They deserved her bravery and oh!
A leg thick, thighed and encased from foot to knee in a shiny black boot struggled through the window, then another leg, then a torso. Then the intruder stood inside, shaking off the cold and snow. He wore all black, from the nightcap pulled low over his brow to the great coat buttoned tight about his torso and those boots.
He shook them trying to dislodge the downy flakes gathered on their tops. If the room had been warm as it should be, they would've melted, but he shivered as he shook. And she shivered too. The children beneath their threadbare blankets, glamored to appear thick and lovely, also shivered. Even in sleep, they must feel the cold.
Glamors never kept a body warm, no matter how luxurious they made an item appear to be. She stood on the opposite side of the room from his window and darkness stretched between them, along with several rows of narrow occupied cots on bare feet. She stalked closer to him, hugging the walls, clinging to shadows.
She could only make out the big, broad shoulder outline of him when he leaned back through the window. Leaving already? He filled it. He reemerged into the room towing a large burlap sack, slinging it over his shoulder. He prowled toward the beds on unexpectedly silent feet. He hovered over the closest bed, his big, dark shadow falling across the child, lying there, vulnerable alone.
Absolutely not alone.
Jane crept near, her hand aching from how tightly she held her weapon, and the intruder dropped to his knees. She paused, determination wavering beneath the force of curiosity because the man was pulling up the boy's blanket, shaking his head as if he disapproved. Then the man pushed a lock of hair off the boy's forehead and reached into his sack, pulled forth
something and set it on the end of the boy's cot. The intruder did the same with the next three beds. Kneeling, comforting each child, reaching into the sack, then placing an object on top of the blanket. What in heaven's name? He appeared to be leaving them gifts. When he stood from the fourth bed, his back was to her.
Opportunity. She ran as quickly as she could on soft feet and dug the point of her poker into his back. Between his shoulder blades, he tensed and his arms flew up, bent like wings, hands open flat with the poker. She pushed him away from the beds and back toward the window. He let her. When they stood before the window, she could see him better.
The blanket of snow outside reflected the meager light, cast it on his tall form.
"Turn," she whispered as loudly as she dared, giving his back a firm poke. He did. Hands still held high and flat. When he was fully facing her, they stood toe to toe. He tilted his head. His lips, finely carved and mobile, stretched into a white toothed grin.
He wore a black domino that covered his nose and cheeks and sailed upward underneath his black knit cap. No, not a domino. A black cravat with holes cut out for eyes. And what eyes they wore too color and distinct. Too dark to see that. But they glittered amused. They devoured. They feasted. They laughed.
They lived all at once, sweeping her away.
"Good evening, Miss Dean," he said.
She squeaked. He knew her. He chuckled. "Who are you?" She whispered, barely able to work her voice.
"A friend," he said.
"Friends do not steal into a locked house at night."
Another chuckle, his voice deep and low and merry. His eyes shifted from mirth to something else entirely as his gaze slid down the length of her body. "Aren't your feet cold?"
Actually they were. She covered one set of naked toes with the other. "What are you doing here?" She asked.
Nearby a cot squeaked, a child snorted and grumbled, and their bodies tilted toward one another, frozen on the same breath. When silence reigned once more, he shifted closer to her. Impossible that there was room to do but he'd found it. Decimated it.
His gaze slid back up her body. "I come bearing gifts, Miss Dean." He spoke so softly, she should not be able to hear him. She did. Each of his words caught fire along her skin, burnt deep into her bones. Funny notion, but she might be able to hear him even if he never spoke out loud.
"What gifts?" She asked.
When he reached into the small sack, he carried, she tensed, lifted her weapon, but he pulled his hand free from the bag just as quickly.
Still, she kept the poker ready. "See," he said. He held something out to her on his palm. Merely a toy. An entire sack of toys and eternal coal for children who have little cause for joy.
With her free hand, she took the lump of shining metal and held it up to the sparse light filtering through the open window.
It was a smooth metal doll with long braids in a child's dress. It was finely carved beautiful. She wished to see it in the daylight. There would be detail enough to delight the eye. She could feel the fine individual threads of carved hair with her fingertips. "Here," he said. As he spoke, he covered her hand with his, swallowing the toy with the heat of their palms.
She flinched. Wrong. Rule number one of being peer's by-blow: never let a man touch you if he's not your husband. "Now open," he said. He stood so near his breath was warm on her hair as he released her hand and it fluttered open of its own accord. The toy was changed. Gone the braids and child's clothes. The tiny doll now wore a ball gown,
her hair piled high upon her head. She seemed to be in the middle of a dance step. Jane gasped.
"One for each child," he whispered, "and something for you too if you're a good girl, and let me return to my task." He winked and he did not wait for her permission. He snapped up the toy from her palm, took his sack, and wandered off,
returning to the rows of sleeping children. Jane's heart squeezed as it often had in the three months she'd been here. None of these children expected gifts. He was no intruder. He was an angel, and she let him continue his business. He moved swiftly carefully between rows, tucking the children in, dropping tokens where they would not be lost.
Almost done now. His bag hung limp over his shoulder, and he made for the iron stove in the corner, knelt and emptied the bag into the coal scuttle. She heard the hard plinks all at once, like bullets in the dark silence of the dormitory. The man froze, seemed to curve in on himself. She muffled a chuckle with her palm waiting for the children to wake.
Surely one of them would, but no, and he flowed back into movement once more carefully placing a small pile of the new coal into the stove. A flash of dying embers crackled, welcoming new fuel. Jane's heart fluttered and flew frantic with thanks. Jamison had kept the fuel allowance the same despite the growing winter chill on order from her un charitable brother.
And now this stranger, this intruder, this God of charity would warm them. She could see the children's smiles, hear their squeals of delight when they woke to find their gifts. Yes, an angel. He turned toward her, began his long-legged journey in her direction. She wasn't holding the fire poker up any longer.
It had become a heavy, dragging weight at her side, an extension of her limp arm. "You're shivering," he said when he stood toe to toe with her once more. "I have exactly what you need." The sack lay limp across his shoulder. Surely nothing else remained in there.
"I need nothing," she said. "Thank you for this." What an inexplicable thing for anyone to do.
Breaking into a foundling Hospital to weave a bit of magic for a group of lost, forgotten children. They lived in her brother's magic, and it did them no good, possessed no substance, but this little trick, this angel's tiny toys, the coal, he'd unexpectedly heaped into the fireplace. He'd broken rules this night, broken the law, but he'd done something so right too.
"Thank you," she said, "for them."
His expression shifted. Even in the dark, she could see, more like sense it, the falling away of easy flirtation in the tilt of his lips, the hardening of some resolution in the set of his jaw. "I never think of myself," he said, "but perhaps just this once." He stepped closer, bowing over her. His hand, large and gloved was on her chin before she knew it, and his nose brushing against her own. Then, "oh," she gasped because his lips settled on her own with the softness of winter's first snowfall. Snow
that was like the steam rising from a warm cup of mulled wine. Spicy, invigorating, and over too soon. He stepped away from her. "Thank you, Miss Dean," he said. Hoarse, deep voice. It rippled a shiver through her. He reached into his sack and pressed something from it into her free hand. His lips rasping near her ear.
He said, "Merry Christmas, brave beauty." Then he turned in a flash with a dramatic sweep of his great coat and slipped out of the window more gracefully than he'd come. One leg his torso, the other leg gone. Not even a parting wink for her to keep what the bloody hell had just happened.
Katherine Grant: What had just happened. Oh my gosh. So delightful. There's so much there. I can't wait to talk about holiday romances and also this fantasy element. But first we'll take a quick break for our sponsors.
Katherine Grant: I'm back with Charlie Lane, who just read from Naughty for Sir Nicholas, which that was such a delightful scene.
One of the reasons I reached out to you specifically to come talk about holiday romances with me is I feel that every time I've checked in with you for the last year or so, you've been writing a holiday romance, one of which is for a collaboration we're gonna be putting out in 2026.
But still, I feel like you have become a holiday romance expert. So maybe without realizing. So I think my first question is why do you think historical romance readers also love holiday romances so much?
Charlie Lane: Yeah, that's a great question. I think that there are a couple of reasons. One of the reasons is because they tend to be novellas. They tend to be these short little nuggets that I don't think we have a lot of in historical romance, which tends to be a little bit longer than other romance genres.
And so to have this time of the year that is stressful and everyone's running around doing all sorts of things that they don't, they're not doing the rest of the year, it's nice to have these little nuggets of warm coziness that you can sink into and you don't have to like, invest a lot of time into.
So I think that the general length of them being shorter is one of the reasons they're so popular. Another reason is I think like the nostalgia of being somehow a nicer time of year where we connect with what it means to be human or connect with our family or our ancestors through these traditions that are passed down.
We're historical romance readers, so we're already tuned into those ways of thinking, and so I think it's just part of the genre, right? Is that the, that holiday nostalgia and historical romance nostalgia for whatever it is, they cohabitate or very closely connected.
Katherine Grant: That's so interesting. Are there things that you feel like you can do or get away with in a holiday historical romance that you can't in a non-holiday historical romance?
Charlie Lane: I think that there's a little wiggle room for magic without being identified as fantasy in holiday romance.
So if you write like a Halloween romance and you got a ghost somewhere in there, right? We'll just call it gothic and it's just like a, a little tag on like a troop list or something, right? Or when I tend to think of Christmas especially, I think of like magic and especially the magic of childhood.
And I feel like there's room for those little miracles, those little, like what if this really is a tiny bit of a magic that has happened and still be able to call it just straight historical romance. There might be readers out there who are terribly like no fantasy, no miracle, no, magic whatsoever.
And they're, they will disagree with me on that, but I think there's some wiggle room there.
Katherine Grant: Yeah, I feel like I've definitely read some Valentine's romances where the text does not necessarily clearly say this was magic, but it's playing with the idea of like maybe there's, fate bringing these people together on Valentine's Day.
Charlie Lane: Yeah exactly.
Katherine Grant: Speaking of magic, your novella has some Christmas magic, but it's also part of the introduction into your new world that you're writing that I believe you're calling gas lamp romantasy?
Charlie Lane: Yeah, that is a word I'm using. I
Katherine Grant: have read Till Death Duke US part, which is you, I don't know if you are calling it specifically a Halloween novella, but it came out at Halloween and I read it on Halloween.
So I'm thinking of it as a Halloween novela. And I am just captivated by the world that you have built. For those who maybe didn't pick it up in the prologue or haven't read it yet. Basically the aristocracy can do glamor magic where they change what you see but there's no substance behind it.
And then there's the alchemists who can manipulate metals with some sort of magic and can invent things but they don't have the same status as the aristocracy. And both of those things are, for reasons that hopefully will be explored, are only available to men. And this is all within the context of Victorian England with, everything that we already know about Victorian England.
So I really love these corollaries. I love that line in like the first paragraph that you read where. Jane is thinking about all the power she doesn't have, and she doesn't even know how to throw a punch. So she doesn't have magic and she doesn't have the regular power that we as regular humans exist with.
Yeah. Yeah.
So can you talk about how you built out this world? Did you do a lot of pre-planning? Did you discover it as you went? What was it like to enter this gaslamp romantasy?
Charlie Lane: A little of both of those things. So this whole series started by watching a Korean drama called Destined with You about a love potion.
And I was like, like the drama gave me all the feels. It's a romance. And it just I was laughing, I was on the edge of my seat. I was just having, just tickled. And this was about a year ago in November and late in November and December. And like I wasn't feeling great. And so this it just stayed with me as anytime I like stopped watching an episode, I'd still be thinking about it.
And I kept thinking, I want to write a love potion story. And I was like, but I don't wanna do it where it's oh, these women are playing around with love potions and it's not a real thing, I, or it's like an aphrodisiac or, I wanted it to like legitimately have magical weight.
And so I was like, but I have to have the right world for that. And that's a lot of work. And it has been a lot of work, but I think I was cooking one day and I was like what if I just kept the social structure. And I used some sort of like magic that symbolically represents the social structure as it actually was in the 19th century.
And that would give me something to latch onto that was familiar. So it didn't feel so, so hard. Like I was starting from scratch to create a world. And once I thought about that, I got really excited because I already enjoy playing within those social structures and challenging them and thinking about them.
And now I had new ways of doing that with the extension of the magic, right? So a lot of it should feel really familiar to people who read historical romance. But I hope also that like people who just read like fantasy can still get the magic high or whatever that they like from fantasy, which is still inhabited by lots of like different social strata. So I started out with that basic concept of putting magic onto the existing social class system in the 19th century. And then I refined it as I was. As I've been writing, because I'm writing book two right now, and each book teaches me something new about the world.
Book one, which releases in December, I really got into Alchemy and also the transcendent class, so like the heroine accidentally receives magic instead of her male cousin. And so much like primogenitor during the 19th century, how the eldest son of the eldest son of the eldest son inherits everything from the title to the house,
they also inherit magic in this world, and that's how the magic gets passed down from duke to Duke or marquess to marquess or whatever. And she accidentally inherits this magic. And so this creates conflict within her family because women aren't supposed to have magic. She can't figure out how to get rid of it.
The only way they know how to get rid of it is dying. And like also her cousin is super pissed like that's the setup for book one, right? It's also fun playing with higher stakes in that I've got heroines who are like legitimately out here, like running for their life, and usually mine aren't.
Yeah. So that's been fun and I got to learn a lot about, like the idea there was no substance behind their glamors and figuring out what the rules were. And then in Til Death Duke Us Part, I got to play with that a little bit more because he's really good at what he does and getting inside of his head and what that means to him.
So he's one of the most powerful men where it comes to glamors and titles and things like that, but like he can't keep these orphans warm because he doesn't have any money. And of course the loss of money, the titled class losing Their Money is also something else that was true in the 19th century really happening that I'm playing with in this series as well.
Yeah, it's like power. There's a power shift that's happening in the 19th century in regards to money and power entitled titles and what is women's place in this is what the series is really asking and I'm excited to go places that real history doesn't go.
Katherine Grant: Yeah, no, it's really cool. I loved Til Death Duke Us Part.
I love the corollaries. I think what you said about there being these higher stakes where like they're actually running for their life.
That sounds like that's a really good crossover into the romantasy genre.
Charlie Lane: Yeah. Yeah. I think historical romance do actually authors do that quite often. I, my own personal books haven't played a lot with like heroine's, actual lives being at stake, unless it's by like starvation, which was very real danger.
But I often don't put like a villain who wants to. To unli them in my particular books, but there are definitely historical romance authors who do that. And it's an easy slide and the gaslamp genre already exists. It's, it was so difficult trying to decide what to call this particular series.
Do I, and it's a marketing question, right? It's also a question for how I build, my, my series itself. But yeah, it's because I feel like using the word romantasy maybe tells historical romance readers. This isn't what you're used to. But I legitimately think that like historical romance readers will go into it and go, I know this world.
Katherine Grant: Absolutely. Like in Til Death Duke Us Part, there's the only one bed and the chapter I think is called only one bed or something like that. And there's like dowry renegotiations and there's the heroine who's down on her luck. It's very much a historical romance. And then it's also very much like I was thinking of the term urban fantasy because it's like fantasy that's in our real world.
Yeah. I'm not familiar with the term gas lamp. Can you tell us a little bit more about what do you think that means?
Charlie Lane: It basically is a more obscure word used to describe historical or fantasy romance set during a recognizable historical time period. And the word gas lamp comes from the Victorian era gas lamps, right?
Technically Amanda Quick's Arcane novels would be considered gas lamp where she has the mediums and she has, the people who can see people's auras and she has the, it feels like faded mates without saying that it's faded. I love those books, but so yeah, it's just fantasy romance set in a recognizable time period.
Katherine Grant: Yeah. It's so interesting because I feel like everyone's acting as if romantasy is a new thing and maybe the high fantasy world focusing on romance is new. But I think it's also just new marketing terms. We all have read books that have magic in them. We all have read books that have history in them.
We all have read varying degrees of those things on a spectrum, and so I feel like actually historical romance readers will be like, oh, this feels really familiar to me.
Charlie Lane: Yeah. Yeah. I think so too. The funny thing about romantasy as a term is that every day I go on the internet and every day no one agrees about what it means.
Readers, authors all saying different things like no, it's fantasy with a little bit of romance. No, it's romance centered, but in a fantasy world. And the term itself would make you think that it's, romantic fantasy because how it's been portmanteau-ed together. But it's not I've never, I thought that it was more romance centered in a fantasy world.
That's what I've, but people will come at me for that. But I'm stepping outta that fight. I don't care people it's. It's a useful term to throw a hashtag up there for me and I enjoy romantasy. Reading it, I usually find that like the bigger series, there's not enough romance in it for me.
Like I want much more romance, less politics. And I think that people coming the opposite direction into that genre, like who are, have been reading a lot more fantasy and coming into that, into romantasy from that are gonna be like, there's too much romance, there's not enough fantasy politics and stuff.
So I think it depends on what you were reading before you. Yeah. Before you came into it.
Katherine Grant: Yeah. That's a good time, A good segue into Love it or leave it to find out, yay. What your romance rules opinions are.
[Musical Interlude]
Katherine Grant: All right. Do you love it or leave it? The protagonists meet in the first 10% of the story.
Charlie Lane: Love it.
Love it. I feel like you're pretty good at first page.
I tend to be first page. If not, then. By the very beginning of the third chapter. 'cause sometimes I need one chapter for the heroin, one chapter for the hero to set up stuff. But that third chapter, we've, I've gotta get 'em together, the second book in My Alchemy of Desire series.
Is like that. And they, we actually, the hero sees the heroine at the end of chapter two, but they don't get to talk until the end of chapter three. So that's a little different for me. And I remember going to my editor going, is this feels wrong because to me it feels wrong. And she was like, no, you've got like a lot of like tension and action, like pulling them toward one another.
And I think the reader can see them like about to collide. And so that kind of. Fixes it, but my little romance heart is put them on the page now.
Katherine Grant: Yeah. All right. Do you love it or leave it? Dual point of view narration.
Charlie Lane: Love it. Love it. Absolutely. Like I need to know what's in both of their heads and I love the delicious, dramatic irony that you get from that a lot of the times.
Yeah. Bring it. Every single one. I lose interest if it's only one point of view.
Katherine Grant: All right. Do you love it or leave it? Third person, past tense, narration.
Charlie Lane: I love it. I'm so old school, like I know I should be like, oh, moving into first person, present tense. And I hear that from every different direction and angle.
You've gotta be like getting with the times. And may I, I think it's hard for me. I think that I developed like my writer voice a really long time ago, and anytime I've tried to stray away from my writer voice, like readers immediately pick up on it. I've been told like, this doesn't sound like you.
And so I'm like, oh, okay. And I just, I've played with first person, I've played with present tense, and it doesn't sound like me. And so yeah, no give me my comfort perspective all day long.
Katherine Grant: All right. Do you love it or leave it? Third act, dark moment
Charlie Lane: As a reader, I like it. I like it a lot. I love that, that I. I skim it, like I read as fast as I can to get through it, because I cannot, like my little chest, my little heart cannot handle the pain. But if a book is missing that dark moment, I begin to lose interest. The tension isn't there.
The chemistry is missing. I need that final push towards the, that final test towards the HEA. And it's delicious. It's a bitch to write. It's so hard to write. It's, again, my little heart's oh, no I do think that not every story requires one. Sometimes a story really requires a third act.
External conflict that threatens the couples happily ever after. It doesn't necessarily have to be internal factors separating them and breaking them up. It could be an external threat, ripping them apart.
Katherine Grant: Excellent. Do you love it or leave it? Always end with an epilogue.
Charlie Lane: I love it. I need it. I want to see them in the future.
I don't care what that future looks like, as long as they are grinning from ear to ear.
Katherine Grant: Do you love or leave it? Always share research in your author's note.
Charlie Lane: I love it. As I'm reading books, if I see something that like makes my little, like historical sensors go off, I will immediately flip to the back of the book to see if there's an author's note.
I don't wanna wait till the end. I wanna know right then and there about that little note. And sometimes I forget to write them myself, which is weird because I love reading them, but. But I'm trying to be more diligent about not forgetting now, and mine have gotten longer and longer.
Longer.
Katherine Grant: Yes. It's, it requires some organization to keep track of your research and then what actually makes it in and then of what didn't make it in what might be relevant.
Charlie Lane: I went through a phase where I was like, if you are interested, here's a link to my blog and there'll be like, links to my sources and like a annotated bibliography.
Love it. So yeah. Yes, on the author's note.
Katherine Grant: And are there any other rules I didn't ask about that you like to break?
Charlie Lane: Oh, that is a good question. I'm like, not really a rule breaker. I think maybe
There are some things that are popular, that I don't, it's not a rule, right? But it feels like a rule sometimes when tropes or things are popular, it feels like a rule you have to hit. And I sometimes don't. I get stubborn about it. I'm like, no. So the alpha hero, and I just, I can't bring myself to do that one.
Even like Victor in Til Death Duke Us Part he's a baddie, he's morally gray. I think one of my beta readers called him a villainous cinnamon roll, which, so he's still a cinnamon roll. So there's little things like that, that feel like rules in a moment, right? They're not rules, but they feel like, oh, I have to do this.
And I'll say no to those things.
Katherine Grant: I feel like you just defined peer pressure in a really great way. Everyone's doing it, so it must be a rule that I have to do it. Oh wait, I don't have to. So thank you and let's share that with all of our teens in our lives.
Charlie Lane: Yes, I'm practicing for when I do have a teen.
Katherine Grant: Charlie, thank you so much for coming on, finishing out 2025 with me with an amazing holiday romance episode. Where can readers find naughty for Sir Nicholas and also all your other books?
Charlie Lane: A variety of places. I have different series in ku, so exclusive, and I have different series that are wide, so you can find 'em in Barnes and Noble, Kobo, et cetera.
And I tend to keep a breakdown of what's offered where on my website. And I'll also update when things switch out of different places my newsletter. So I'll send updates as well as like warnings. Like you have one month and then this is changing where it's going. So I'm trying right now a new release method where I do a wide pre-order for a month and then maybe a week keep it wide before moving it into ku.
So I just want, all sorts of readers to be able to find my books. So we're doing a little experimentation.
Katherine Grant: That's great. And this episode is coming out, I think December 15th. And book one in your Alchemy series is coming out that same week, right?
Charlie Lane: Yes, December 19th. And so it will, at the time of this episode, be up for pre-order everywhere.
And also libraries. So
Katherine Grant: we love libraries. Patrons, you might need to request your library. Yes. Purchase our books. Yes. Most libraries are very responsive to that.
Charlie Lane: Yeah. And I request books on libraries all the time. So through Libby it's, I type in a book that I want in the search bar, and if it doesn't show up, I click the little bell under the title.
Because it'll show up, but it won't be available at my library. So I'm out here every day requesting a variety of books from the library. Yeah.
Katherine Grant: Yeah. Thank you so much, Charlie. Listeners, you'll be hearing more about Charlie and another Hi Holiday Romance because we are coming out with Holidays at Northfield Hall in the fall of 2026, but more on that later for now.
Charlie, thank you so much. Listeners. Happy holidays. Happy New Year, happy holidays!
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