TRANSCRIPT (FULL/EXTENDED EPISODE)
[00:00:00] Katherine Grant: Welcome to the Historical Romance Sampler Podcast, the place for you to find new historical romance books and authors to fan over. I'm award winning historical romance author, Katherine Grant, and each week I'm inviting fellow authors to come on and share a little bit of their work and themselves.
[00:00:21] They'll read a sample of one of their books, and then I'm going to ask them a bunch of questions. By the end of the episode, you'll have a sense of what they write and who they are. Hopefully you and I both will have something new to read. So what are we waiting for? Let's get into this week's episode.
[00:00:39] Today I am joined by Courtney McCaskill. After reading Black Beauty for the 1, 497th time, Courtney was inspired to write her own stories. Reviews of her early work were mixed, with her fourth grade teacher, Ms. Compton, saying, please stop writing all of your assignments from the point of view of a horse.
[00:00:58] Today, Courtney lives in Austin, Texas. With the hero of her own story, who holds the distinction of being the world's most sarcastic pediatrician. She is reliably informed by her son that she gives the best hugs, because you're so squishy, mommy! In 2022, Regency Fiction Writers honored Courtney with its Lady of the Realm Award in appreciation of her volunteer work, both on its board of directors and as the coordinator of the Regency Academe.
[00:01:25] When she's not busy almost burning her house down while attempting to make a traditional Christmas pudding, Courtney enjoys playing the piano, learning everything there is to know about Kodiak bears, and of course, curling up with a great book. Welcome, Courtney!
[00:01:38] Courtney McCaskill: Thank you so much.
[00:01:40] Katherine Grant: I'm so excited to have you.
[00:01:42] So today you're reading from How to Train Your Viscount. I'm excited to have you read it. Um, so for the listeners who don't know the book, the only one who can help her is the man who broke her heart. Four years ago, Lady Caroine Astley took one look at Henry Greville by Count Thetford and fell horribly in love
[00:02:01] in that particular way, you can only fall in love at the age of 15. He didn't just reject her. He humiliated her. But now in a stroke of rotten luck, He's the only one who can help her. It turns out that the paste pendant she borrowed from her sister Anne was no fake. It's actually an ancient Egyptian amulet, and now Anne wants to auction it off to save hundreds of widows and orphans.
[00:02:26] What Caro can't bear to tell her sister is that the necklace was stolen from right around her neck. Caro has a few clues, but she doesn't know an amulet from an obelisk, and the trail has gone cold. Guess who grew up in a house stuffed with Egyptian artifacts. Caro may despise Henry, but she needs him if she's going to track down the thieves.
[00:02:47] Which begs the question of, which is worse, letting down the orphans or risking her heart all over again? Sounds fantastic! So Courtney, do you want to set up this scene you're about to read?
[00:02:58] Courtney McCaskill: Absolutely. So as you heard in the blurb, Henry insulted Caro most terribly some years ago. Now she has come to London and made her debut and he is desperate to apologize.
[00:03:08] He sent her a series of apology letters. She never responded. He's been trying to track her down. So this scene takes place at the moment he finally corners her. How exciting! As soon as Mr. Parkinson was gone, Caro swept out the door, ignoring the Viscount. She scanned the street. Do you see our hack, Fanny?
[00:03:32] I believe it has left. And to think I paid the driver a shilling to wait. That usually works, a deep voice intoned. The bothersome man had followed her outside. What a shame you happened upon an unscrupulous driver. Well, Caro said, with a brightness she did not feel, I'm sure another one will come along presently.
[00:03:53] You will find that hacks are few and far between south of the river, but I would be delighted to escort you home. He gestured to a handsome high flyer phaeton with a gold basket seat and midnight blue velvet cushions. It was drawn by a pair of gorgeous matched greys, which were being held by his tiger, a freckle faced boy of perhaps ten years of age.
[00:04:14] How fortunate that we happened upon each other. Caro glared into his smug face. Fortunate is not the word I would use, and I would rather go back inside and eat that mummified hand someone pulled out of an Irish bog than get in your phaeton. She gave him her profile. Now, if you will excuse me. An hour later, Caro found herself seated in Lord Thetford's phaeton.
[00:04:39] It was rather remarkable, the series of calamities that had transpired to get her to this point. She could take a detached enough perspective to appreciate that. Things had actually gotten off to a promising start. Lord Thetford had attempted to speak with her. Irritating man that he was. But Fanny, bless her, had declared that Caro shouldn't be standing full in the sun and had opened her parasol directly into the Viscount's face.
[00:05:04] She had then proceeded to stand in front of her mistress like the three headed dog that guarded the gates of hell. This had spared her from having to converse with him, but, as much as it pained her to admit that he was right, more than a half hour passed without a single hackney carriage passing by. It had become clear that she needed a new plan.
[00:05:25] Her plan had not involved getting into Lord Thetford's phaeton, however. Lady Caroine Astley was not so easily defeated as that. She had informed Fanny that they would cross Blackfriar's Bridge on foot and have better luck finding a hack on the other side. The walk had begun splendidly. If one's notion of splendidly involved hearing a string of obscenities that would have made even Harrington blush when the drivers of two carts made for the same opening and almost collided.
[00:05:53] A fistfight ensued, then a lecherous drunkard staggered over with arms outstretched toward Caro's bosom. She was once again saved by her indomitable maid, who stepped in front of her mistress wielding her parasol like a battle axe, shouting, Don't even think about it, you buffle headed teetaw! And to think that Caro had initially been disappointed not to have a fancy French maid.
[00:06:19] She made a note to take Fanny to Gunter's that afternoon. She loved the ices there. After the drunkard, it had simply been a matter of trying not to breathe in too deeply of the rancorous malodors of the Thames, and ignoring Lord Thetford's plaintive calls to give up this foolishness and get in his carriage, because of course the blasted man had followed her.
[00:06:40] But she had ignored him and carried on. And then the end of the bridge came into sight, and she had thought she was going to make it. She truly had. But then she had stepped in it. Literally. Lord Thetford grinned as he climbed up beside her. I wonder what sort of manure that was. Caro did not deign to answer, but she was fairly certain the answer was pig.
[00:07:02] Her father was passionate about his herd of Gloucestershire old spots, so she had some degree of familiarity with the subject. Whatever it was, it had a remarkable case of tapeworm, he mused. She glared silently over the waters of the Thames. My favorite part, he continued, was when it sucked the slipper right off your foot, and it immediately soaked through.
[00:07:25] I don't blame you for leaving it there. What a gorgeous team you have, my lord. Do you need me to drive them for you, or are you familiar with the process? He glanced back to make sure Fanny and his tiger, Billy, had squeezed onto the tiny rumble seat behind them, then nudged the graze forward. Caro shifted about, scooting as close to the door as she could manage.
[00:07:47] Since making her bow, five gentlemen had taken her for a drive in Hyde Park. She knew their phaetons had been every bit as narrow as this one, but for some reason their proximity had affected her not at all. Sitting next to Lord Thetford, on the other hand, she felt exquisitely self conscious. The phaeton hit a bump, and his shoulder nudged hers.
[00:08:07] She all but jolted out of her skin. Come, Lady Caroine, he said after a moment. It is better this way. She maintained her stony silence, so he continued. I know you wish to avoid me, but what you have failed to notice is that we are, how you say, Doomed. Doomed. How precisely you have captured my feelings.
[00:08:31] First, we ran into each other over the mummified child in Thomas Hope's Egyptian room. Today, it was the Leverian Museum, with its assorted bog parts and room full of monsters. It is reaching the point of absurdity. Where will we meet next? The Hunterian Museum? They have the skeleton of an Irish giant on display.
[00:08:50] And if you thought the monsters at the Leverian were grotesque, would you like to know what I found to be the most hideous sight at the Leverian Museum? She asked sweetly. I will give you a hint. It was in the same room as the remarkable horseshoes. He had the temerity to laugh. My point is, it's far better for me to get my apology over with today.
[00:09:10] Because apparently the fates have doomed us to run into each other at every crackpot house and freak show in London until I've had my chance. And you would not believe how many freak shows there are in London. How annoying that he was right. She gave an aggrieved sigh. Fine. You may proceed. She glared at him out of the corner of her eye.
[00:09:32] He looked nervous. As well he should. Er, excellent, he began awkwardly. Well, four years ago I sent you a letter. I sent you four letters, actually. Did you, um, Did I cast them into the fire without even bothering to open them? Why, yes! Yes, I did! Behind them, his tiger Billy gave a low whistle. I see, Lord Thetford said.
[00:09:59] Then you are unaware of the sentiments contained therein. What I wrote was, Allow me to guess, Caro said. Seeing me standing on that balcony was one of the worst moments of your life. It was never your intention to insult me, nor to cause me any pain. You feel wretched, you are desperately sorry, and you beg my forgiveness.
[00:10:18] And so on and so forth. Do I have the gist of it? You understand me remarkably well. It's difficult for me to even find words to. He gave her a tortured look. Caro, I can't tell you how sorry I am. I was miserable for weeks afterwards. I still think about it every day, and I cringe, thinking how I, how you said you didn't even want to dance with me.
[00:10:41] How you were dreading it. Yes, I, oomph. There was a loud thwacking sound as he grunted in pain. Beg pardon, m'lord, Fanny said loudly. I was just opening me parasol. He rubbed the back of his head. I don't know why you even need a parasol. We're fully in the shade. Hmm, Fanny returned. And what was it you said next, Caro said?
[00:11:06] Ah, yes, that you didn't want me following you around because I was a naive little child without any charms. That I was as flat as the Salisbury Oh, that's very bad, Billy said, and what he doubtlessly thought was a whisper. Very bad indeed, Fanny agreed. I mean, look at her. Is he blind? Billy asked. Tis either that or stupid, Fanny muttered.
[00:11:31] The problem is that he don't have any sisters, Billy continued. Four brothers but no girls. Me, I've got three sisters, and I know full well Billy, Lord Thetford Snapped, your commentary is neither required nor appreciated. Yes, m'lord. Beg pardon, m'lord. And my personal favorite, Caro said, was when you said I was as dull as ditch water.
[00:11:55] Hearing a rustling behind her, she turned, raising a hand. Thank you, Fanny, but there is no need to hit him again. Fanny already had her parasol aloft. I didn't know he said all that. I told you he insulted me most terribly to his friends on the balcony. You left out a few pertinent details, Fanny grumbled.
[00:12:15] Returning to the matter at hand, Lord Thetford said, Yes, that is what I said. I cannot deny it. All I can do is tell you how deeply sorry I am. Sorry to have been caught, Caro scoffed. That's not it. That's not it at all. Next you will explain how you had overimbibed, how your friends were goading you, how, both of which happen to be true, but those things are entirely irrelevant.
[00:12:42] I should have taken them to task. It is to my shame that I did not. No, I do not wish to make an excuse. I wish to make an apology. The only reason I said what I said is because I was a jackass. Based on our recent conversations, your use of the past tense seems a trifle optimistic. I do not blame you for being skeptical, nor do I blame you for hating me, but I have changed as a result of that day.
[00:13:07] I have, he insisted, seeing her dubious look. I never used to consider the feelings of anyone but myself. I am far from perfect today, but at least I'm trying. I cannot honestly say that I was before, and I'm no longer friends with Arthur Nichols and Jacob Cartwright. I began to notice a mean spirit into the spiritedness to them, and I found that I did not much like the man I became in their company.
[00:13:31] He shook his head. One good thing came out of that horrible day, because I made a brutal self discovery. At least I'm no longer a complete cad, as I was at the age of 21. Caro gazed at the passing scenery, absorbing his words. In truth, it was a better apology than she had thought he would make. She had expected a string of excuses.
[00:13:52] She was startled to realize that he was sincere. But there remained one problem. I believe you, she said. I believe that you regret having ever said it. I even believe you are sincerely sorry for having hurt me. But! She raised a hand as he started to interrupt. I also believe that you meant every word you said that day.
[00:14:13] I, I His expression was plaintive, his brow furrowed in distress. Don't even bother to deny it, Caro said. The thing is, it had nothing to do with you specifically. At the age of 21, I wasn't interested in young ladies. Behind them, Fanny gave a great snort, which she then made a very half hearted attempt to disguise as coughing.
[00:14:37] Lord Thetford sighed heavenward. Fine. That is to say, I was not interested in respectable young ladies. That's more like it, Fanny muttered. Mm hmm, Billy concurred. The point is, Lord Thetford said, casting a glare over his shoulder, the fault was entirely mine. And Billy was right earlier. He gave her a rueful half smile.
[00:15:01] Look at you now, the most beautiful girl in London. I'm not glad to have caused you pain, but I believe the end result will be better for you in every way. You would never be interested in the likes of me. His face fell as he returned his gaze to the horses. You'll probably be married to Lord Graverly before the month is out.
[00:15:22] Caro wasn't so sure. She hadn't even decided whether she wanted to set her cap for Lord Graverly. And in any case, there was no appropriate response to such a remark. Hmm, she demurred. He drew in a breath. I've never dared to hope you might forgive me. I never felt I could possibly deserve it. But, she waved this off.
[00:15:44] Oh, I'm sure I will forgive you. He looked up, his face radiating shock and hope, and something else. Caro found it difficult to maintain eye contact when he wore such an expression. It was a bit like staring directly into the sun. Your obvious sincerity makes it difficult to carry on hating you. Then, do you think, could we be friends, Caro?
[00:16:10] She closed her eyes for a beat. No, my lord, I honestly do not think we ever could. She raised a hand to silence his protest. We will see each other in the future. We run in the same circles that cannot be avoided. I will not cut you when we do. You need never worry about that. I will nod and I will smile. I will say good evening if the circumstances require it.
[00:16:33] But, on those occasions when we meet, the kindest thing you could possibly do for me is to leave me alone. But But, I will never treat you with such disrespect again. You have my word of honor upon that. And, that isn't the problem. The problem is that you only wish to be my friend because you pity me. That is not true.
[00:16:57] Your first impression of me was that I was annoying and insipid. As dull as ditch water. And ever since I overheard you on the balcony, you have thought of me as poor, pathetic caro. 'Yes, you have, she said when he made to protest. 'You never would have sought me out if I hadn't overheard what you said, 'if you had not felt sorry for me.
[00:17:17] 'And there is nothing, absolutely nothing, I despise more than being pitied. 'I cannot abide it. 'I would much rather have the world's hatred than its condescension. 'It is why I have been avoiding this horrid conversation for all these years. 'But I like you, he protested. 'She arched a skeptical eyebrow at him.
[00:17:37] 'You didn't four years ago. 'It No, he agreed, but yesterday That was nice, wasn't it? It was not ladylike to roll one's eyes, but really, who could blame her? Allow me to clarify, your notion of nice involves your likening me to a pig and a cow, my calling you asinine in return, your discussion of venereal disease followed by cannibalism, and my hissing at you to shut up before someone heard the ungodly things coming out of your mouth?
[00:18:06] Well, I enjoyed it, he muttered. I know you believe that, but the truth is, the only reason you think you like me today is because you are determined to do so. Because you feel guilty. Your true opinion of me is what you stated on the balcony four years ago. That is not true. I had the wrong impression of you entirely.
[00:18:27] I do not believe you. He gave her that look again. The same one he had been sporting for most of the conversation. It was beseeching, crestfallen. Pitying. She could not stand it. Will you stop looking at me like that? How did we stumble into such a maudlin conversation? It is absolutely intolerable. I never imagined a context in which I might utter these words, but I preferred it when we were discussing venereal disease.
[00:18:56] He barked out a laugh. Truth be told, I did, too. How shocking to find ourselves in agreement. Now, we're almost there. Do me a favor and say something completely obnoxious so I can go back to loathing you again. Just the first thing that springs into your mind. You have such a natural talent for it. He was grinning at her.
[00:19:15] Very well, I will do my best. May I speak frankly? Am I to understand that our conversations up until this point have been your most polite circumspection? How very alarming. You, Caroine Astley, are a sham. Do any of your suitors know what an acid tongue you really have? La, they do not, and I have no intention of letting them know the awful truth.
[00:19:38] At least, not until I've caught one of them in the parson's mouse trap. He shook his head. Have you considered that you might be going about it all wrong? That you should look for a man who appreciates your wit? Such a man does not exist. I will sooner find a unicorn. He looked up at her when she said that for some reason.
[00:19:58] That's not true. Many a man would find your wit appealing. Spoken like a man. Trust me when I say that wit is not appreciated in a woman. Indeed, it is barely tolerated. No, it is something I must conceal at all costs. And yet you launched into me without hesitation. That's because I do not care the slightest bit.
[00:20:19] Bit what you think of me. All right. Spicy. Yeah. Enemies to lovers. So they definitely go at each other.
[00:20:30] Katherine Grant: I love it. There's some really strong enemy vibes there. And it's like, how are they going to become lovers? Got to read it to find out. That's right. All right. Well, I have a bunch of questions for you, but first we're going to take a break for our sponsors.
[00:20:44] Hey samplers, it's Katherine Grant. I am interrupting this episode to tell you how to get a free book, the Viscount Without Virtue. First, go to bit.ly/hrs fan, go through the checkout process. This is where you add the promo code, HRSFAN as your last step. Just download your free ebook to your ereader.
[00:21:11] Alright, well let's get back to this week's episode.
[00:21:13] And we are back with Courtney McCaskill, the awesome author of How to Train Your Viscount. Um, I was taking some notes as you were reading because there were a lot of questions popping up in my head.
[00:21:26] So. One thing, I don't think anyone could have listened to that and not noticed that you're an incredibly funny writer, like, it's so humorous. It's fantastic. Um, so I'm curious, in your writing process, do you start by thinking of, like, the humor of a situation or, like, the dialogue that you want to get on the page, or do you start more with characters or plot or setting and then the humor comes at a later date?
[00:21:53] Courtney McCaskill: Yeah, I I actually, because this is, this is the first book in the series. And so as I've gotten to know some of the other siblings in the Astley family who are going to make up the later books, I often think of a really great line of dialogue. And I think, you know, I often, this is going to sound crazy, but the other day I went to New Braunfels for a book sale and it was about an hour drive.
[00:22:13] And I drove down there without listening to any music because I just like to brainstorm and I just talked to myself out loud as I was driving along in the car, brainstorming ideas for these books. And that's how I come out, come up with a lot of these lines of dialogue. I'll just be washing the dishes or something, or like, sometimes I work out with no music and I just talk to myself the whole time.
[00:22:33] And I, you know, it's funny what will come out of your brain when you give yourself.
[00:22:41] So I often times have these lines of dialogue that I know I want to work in there somewhere and then my brain goes, which scene does this fit in? How does this work out? How does this funny exchange work? So I kind of start from the characters and then once I have the characters and kind of know what their dynamic will be together, I often come up with the lines of dialogue and then figure out where those fit like puzzle pieces.
[00:23:02] Katherine Grant: That's fascinating. Wow. I one time have. I live in New York City, so I don't have a car. One time I have, I walked around, I was really struggling with a draft, needed to figure out how to end it. And I was walking around talking out loud to myself on the sidewalks of New York City, being like, but if this happens, that won't work.
[00:23:21] And if this happens, that won't work. Nobody looked twice. Exactly, it's New York. That's amazing. So. Dialogue is such a tricky part of the craft to get right, you know, so have you done, do you feel, it sounds like dialogue comes naturally to you, but I'm curious whether there are any like craft books or exercises that you do to really, you know, perfect that, that skill.
[00:23:47] Courtney McCaskill: Oh gosh, I mean, I definitely try and think about what, what are sort of What is this character's voice? What are some of their signature words that they use? I actually got myself into a little bit of trouble because the, the lady's maid character there, Fanny, um, in the original draft she had a much larger role in the book, and she's from Kent.
[00:24:05] So I read an entire book on the 19th century Kentish dialogue, and I made all of these notes about all of these words I was going to use for her and how the dialogue was, and then I have this wonderful reader named Linda from Britain who reads all my drafts for me and lets me know when I've used a word that sounds particularly American, for example, and she's like, Kentish.
[00:24:27] This Fanny character, she just sounds weird, and she even went and checked with one of her friends from Kent, who, and she's like, he doesn't know any of these words, he didn't hear his grandparents using them, this just sounds strange, Courtney, and I'm going, what happened? So I did some further research, and about 100 years ago, the Cockney accent moved
[00:24:47] east from London and completely subsumed the Kentish dialect that I had written this entire character in. So no one has heard this dialect for 200 years. It sounds completely bizarre. People in Kent do not speak that way anymore. And yet I have this character using all of these strange words that no longer exist.
[00:25:07] I'm like, okay, good job. Tried a little too hard with that one, but what can you do?
[00:25:13] Katherine Grant: That's actually, that's really funny and it's also kind of like a classic example of the tension between like doing your research and then also making it accessible to modern readers because We're not actually reading to learn about 19th century Kent.
[00:25:28] Courtney McCaskill: And I thought I was doing this great thing. I thought, Oh, everybody in Kent is going to say, Oh, my grandfather used to use that word. And this has such a familiar feel. It turns out no one recognizes it at all. And it just sounds weird, but it's too late. That's how I hear the character in my head now. So I actually just came out with a novella, uh, which features Fanny as the heroine.
[00:25:48] And so I tried to tone it down to a level that was accessible, but I have a few ya knows and ya sees in there.
[00:25:55] Katherine Grant: I love that. I love that. That's awesome. Um, so speaking of research, the, it didn't come up too much in this scene in particular, there was the mention of the different museums and the bog hand and all of that.
[00:26:11] But this is such a fun premise of a story that's, you know, like, you know, got this like Indiana Jones aspect of going through these artifacts or whatnot. How much research did you have to do on all these ancient worlds and artifacts that they would be coming across versus how much of it did it end up in the book?
[00:26:31] Do you know what I mean?
[00:26:32] Courtney McCaskill: I did. Um, I actually did quite a bit of research into it because all of the ancient Egyptology parts in the book are factually correct. You know, the Rosetta Stone really did come to Britain in that year and it caused a... an Egyptomania is what they call it, craze, in which everyone was all of a sudden obsessed with these ancient Egyptian antiquities.
[00:26:51] And Thomas Hope, who's mentioned in the book, was very famous for his ancient Egyptian decor at his house. The party at Thomas Hope's house was an actual event that took place. And I actually quoted a little newspaper column writing it up about how there were a thousand guests. in attendance, including the Prince of Wales.
[00:27:08] So this was an actual craze that took place in the very year that the book is set. Um, so I did quite a lot of research on that. At the same time, you always try to be mindful. Hey, this is a romance novel. People are not here to read details about Egyptian entrails and all of this stuff. So you try and find that right balance between giving it a little bit of historical color, but letting the romance really lead the way.
[00:27:31] Katherine Grant: Yeah. And so you mentioned this is the first book in the series and clearly this Egyptology has informed the plot. Do you feel that you also, because I do this a lot where I'm reading about the era and that helps me figure out what I want my next book to be. Do you use that as inspiration?
[00:27:48] Courtney McCaskill: Absolutely. I just, I always have a historical research book, a history book that I'm reading.
[00:27:54] And it's amazing if you just read history, it's amazing how ideas pop out at you. You just go, Oh, this would be perfect for this book. And this would be perfect Um, so I just find that if I'm reading something, the ideas just tend to tend to flow. So,
[00:28:09] Katherine Grant: yeah, that makes a lot of sense to me. I actually realized once I started writing my historical romances, getting back into the research part of it, I realized it's something I have always done when reading nonfiction
[00:28:21] history is to imagine people living in the time and like, Oh, how would they have reacted to this really huge thing that happened? And I was like, Oh, so this explains why I have chosen the career.
[00:28:32] Courtney McCaskill: Exactly. No mystery how you got here.
[00:28:38] Katherine Grant: Um, and I know that in your past life, you were a bookseller. Is that correct?
[00:28:42] Courtney McCaskill: That's correct. I worked at Barnes and Noble all throughout college. So yeah.
[00:28:47] Katherine Grant: So I'm curious, you're obviously a reader. You've been a bookseller, you're now an author, you've oriented towards literature in so many different ways and roles. Do you have a favorite way? Or is there something that is kind of like a crossover for you?
[00:29:04] Or has being an author given you new insight into what readers and booksellers need to know? Or, I'm not sure if my question is making sense, but how did those three identities intersect for you?
[00:29:16] Courtney McCaskill: Yeah, I mean, because working at Barnes and Noble, I mean, It was kind of a cool experience. Like, I read Game of Thrones when it first came out.
[00:29:24] When no one had heard of this book, I hand sold hundreds of copies of that book. George R. R. Martin should cut me a check, honestly. But you do kind of have that experience of connecting with readers and finding out, you know, that was the book everyone came back into the store and said, I need you to recommend another one just like this for me.
[00:29:40] I'm like, there's no other book like that. I can't do it. I'm sorry. So, um, you know, You definitely have that experience as a bookseller, and it's an exciting moment when you put that perfect book in someone's hand. Like, I remember there was this one gentleman shopping for a Christmas gift for his wife, and she loved historical romance.
[00:30:00] And she, every book people were bringing up to him, he's like, she's read that one, she's read that one, she's read that one. And then I handed him a copy of Juliette, oh, Juliette, I wish I, I wish I remembered the author's name off the top of my head, but it's a fabulous book set in Italy. It's a historical, uh, romance, kind of, it flashes back from present day, back to, uh, medieval times.
[00:30:19] And he, I remember the look on his face when he looked at it, he's like, I'm almost positive she's never read this one. And I'm like, and it's so good. I still remember that, that feeling that I'd handed him the book. Perfect book. Um, so there's definitely a thrill that comes from that moment as a bookseller.
[00:30:36] Um, it is interesting to me, too, as an author, you know, you read reader reviews, and what I've really discovered is that every reader reads for a different reason. Like some people with this book, They love the humor. They love the dialogue. That's what they read for. And honestly, that's the type of reader I am too.
[00:30:54] Some people really love the puzzle mystery, the ancient Egyptian aspects of the plot. Some people love the steamy scenes. Some people hate the steamy scenes, you know, but every reader is really different. And so, you know, it kind of makes me think. In a way, it's not that there are no good books and bad books, but to a certain extent, there are books that are to people's taste, and there are books that are not to people's taste, and you kind of just have to go out there and find your readers where your writing is to their taste, you know?
[00:31:22] Katherine Grant: Yeah, that's a good perspective. It's also a little liberating in that it's impossible to write a book that everyone will like, so you should write a book that you like.
[00:31:32] Courtney McCaskill: Exactly. You know, and I mean, some people, if you go and look at the very best books that top all the most popular lists, they all have one star reviews.
[00:31:41] You know, there is, there truly is no book that's universal. And I remind that of my, I remind myself of that when I get that one star review.
[00:31:48] Katherine Grant: It's harder though, when it's your own book. Yes, to keep that perspective.
[00:31:54] Courtney McCaskill: Yes, it is. I have to remind myself a lot.
[00:31:59] Katherine Grant: Yes, I know that feeling well. I'm going to move us into the very fun segment.
[00:32:07] Are you a romantic? Okay. So which do you trust most your heart, your gut, or your brain?
[00:32:17] Courtney McCaskill: All three at equal measures.
[00:32:20] Katherine Grant: Okay. Fair enough. Do you believe in love at first sight?
[00:32:25] Courtney McCaskill: Yes, I do.
[00:32:28] Katherine Grant: Is there a difference between lust and love?
[00:32:30] Courtney McCaskill: Oh, absolutely. You know, there are definitely some people out there who are very attractive, and then you know, once you get to know them, you're like, No.
[00:32:40] Katherine Grant: So that would be an example of lust at first sight, not love at first sight. Yeah,
[00:32:44] Courtney McCaskill: so sometimes it does turn out to be something else, but you know. I do think that sometimes Love at First Sight works out. I have plenty of love. I'm writing a book right now where the hero falls in love with the heroine at first sight.
[00:32:56] So I got to believe in that. Gotta believe in
[00:32:59] Katherine Grant: it. Yeah. Okay. Do you believe in soulmates?
[00:33:04] Courtney McCaskill: You know, I really don't. I really don't. I think of that line in Emma where, uh, Mr. Weston has just married, she's now Mrs. Weston, um, his second wife, and, you know, uh, I think it's Harriet Smith comments that she had thought, believed in soulmates, but she was happy to be wrong since he had found such a wonderful romance twice.
[00:33:23] Katherine Grant: Hmm. So do you believe in true love and is it different than soulmates?
[00:33:28] Courtney McCaskill: I do believe in true love, um, but I don't believe that there's only one person out there for you. I find that almost a depressing thought because what if you never met that person? What if you were born on the opposite side of the globe from that person, you know?
[00:33:42] Yeah, yeah. There's just too much that can go wrong, so.
[00:33:45] Katherine Grant: Yeah, or if you lose them, yeah. Yeah. Okay, can you fall in love with someone you have never met?
[00:33:53] Courtney McCaskill: Absolutely. So, so in this book, the hero is actually the best friends with the heroine's brother, and she kind of falls in love with him. Her brother writes letters back from school in which he recounts their many adventures, the many funny things that Henry says, and she kind of falls in love with him through those letters, not even letters directly exchanged with Henry, just from her brother recounting all of these funny stories.
[00:34:16] So I absolutely believe that you can fall in love with someone, you know, through something like letters.
[00:34:23] Katherine Grant: Yeah. Well, that's fun. Okay. And I think your book, you've, you've probably explored this on the pages. What makes an apology meaningful?
[00:34:33] Courtney McCaskill: Honestly, I think it's what happens next because if the person changes the behavior and doesn't do it again, that's what makes it meaningful.
[00:34:40] Otherwise, it's just words.
[00:34:44] Katherine Grant: Yes. Um, okay. And finally. Why is romantic love important?
[00:34:51] Courtney McCaskill: Ooh, uh, I mean, I know that for me, romantic love is kind of what makes me light up. It's what gets me excited. It's what gets me up in the morning and excited to go to my computer and tell another romance story. So, uh, To me, it's a hard question to answer because the answer almost seems so obvious, you know, it's so important to me personally, but it's definitely what gets me excited and I think a lot of readers feel the same way.
[00:35:16] I mean, you see that romance is the biggest industry, the biggest genre in books. Um, so obviously I'm not the only one who feels that way.
[00:35:25] Katherine Grant: You're definitely not. Alright, well I think I'm going to declare you a romantic. Woohoo! Well, Courtney, thank you so much for taking the time today. If our listeners would like to read your books and learn more about you, where should they go to find you?
[00:35:41] Courtney McCaskill: So my website is real simple. It's just CourtneyMcCaskill. com. I would love to see you there to send me an email. There's links on there. You can sign up for my newsletter or email me or find all of my books.
[00:35:53] Katherine Grant: Nice. And for any listeners who haven't yet caught on to this, when you sign up for an author's newsletter, You're getting a lot.
[00:36:00] We all have freebies out there. I know I saw Courtney, you have second epilogues to your books available. Um, there's always a lot of fun stuff in an author's newsletter. So if you haven't yet subscribed to your favorite author's newsletters, get on it and get on Courtney's because there's free reads. So, um, yeah, Courtney, thank you again.
[00:36:22] And we look forward to reading your books.
[00:36:26] Courtney McCaskill: Thank you so much for having me. It's been so fun, Katherine.
[00:36:29] Katherine Grant: That's it for this week. Check out the show notes where I put links for my guests, myself, and the podcast. Until next week, happy reading.