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Full Transcript: Emmeline Warden Samples The Seasonal Habits of Husbands and Honeybees
Katherine Grant: [00:00:00] 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.
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.
I am so excited. Today I am here with Emmaline Warden, who lives in Colorado with her four kids and an ungodly number of animals. Her love of romance began with an accidental copy of Susan Elizabeth Phillips and a trip to DC. She has been reading and writing romance [00:01:00] ever since.
Emmaline, I'm so excited to have you here.
Emmaline Warden: Thank you so much for having me. I appreciate it.
Katherine Grant: Yeah. I know you're reading from your recent release, seasonal habits of husbands and honeybees.
Emmaline Warden: I am, yes, from the Genus of Gentlemen
series, yeah.
Oh yes, no, it's a mouthful, but I, I love it so much.
Katherine Grant: I love it, especially because I read that you love gardening, and so it feels very personal as well.
Emmaline Warden: Yes, yes, no, both books are kind of focused around gardening and animals and, and whatnot, so, yeah.
Katherine Grant: That's awesome.
So what do our readers need
to know before you get started?
Emmaline Warden: So this is the second book in my series. This is focusing on a secondary character that we were introduced to in the first book, Love and Other Perennial Habits. His name is Harrison Metcalf, and he is the newest Earl of Everly. And he's, he's kind of just trying to figure out where he stands in society.
He is [00:02:00] single. He has, you know, mamas all over him trying to get him interested in their daughters. And yeah, this is just his, his fun story.
Katherine Grant: Awesome. Well, whenever you're ready, take it away. Okay.
Emmaline Warden: February 1822, London. "Phoebe, you simply cannot ask a gentleman if they are aware of the mating habits of bees.
We're at a ball for heaven's sake," said a sharp voice, the shrill reprimand determining it to be a lady of questionable years. The cigar that Lord Harrison Metcalfe had raised to his lips paused in midair at what had to be the most absurd sentence he had ever heard had the misfortune to overhear. So much for enjoying his cigar in the cool evening air in blessed solitude away from the crush of the ballroom.
"I was merely stating that bees use dancing to give direction to food sources, while we have relegated the action as a form of mating ritual. It is only logical that the next point of discussion would be to point out that when it comes to mating, a queen is the one who populates her hive with the secretions of many male [00:03:00] bees as opposed to a single individual, and that there's very little courting in the process of procreation," a seductive voice answered.
Second. It was the second most absurd sentence he had ever heard, the first place now, going to that mesmerizing paragraph spoken by a smoky voice that should make a man think of dark rooms and intoxicating touches, not be secretions. "You'll never marry if you continue out in this manner," the sharp voice responded, "I'm not sure I understand why that is a problem," the seductive voice said.
Harrison leaned against the wall, his cigar forgotten as his ears pricked up at the unusual conversation. He had surely never heard of a societal miss uninterested in procuring an affluent marriage. That is, if he did not count Margaret Reedy, now Ludlow, the newly appointed Marchioness of Greenwood. And he did not count her, for she was a kind of holy grail that no one would ever be able to touch, including him.
The sharp voice sighed, "How is it that you are my daughter, and yet I still don't understand you? Compose yourself into a respectable young lady, and then join me in the [00:04:00] ballroom, Phoebe. And please, no more nonsense about bees." "Yes, Mama," replied the seductive voice. The balcony grew quiet and Harrison returned the cigar to his lips and took a deep puff, the tip turning a burnt orange.
Silence embraced him and he was glad to be alone once more. "I'm told it's rude to eavesdrop," the sultry voice said. Harrison sputtered, the cigar falling from his mouth. Stubbling the thing with the toe of his slipper, Harrison stepped out from the darkened alcove to stand before his accuser. The outspoken miss looked nothing like her absurd comments.
Her blonde hair pinned in a loose chignon, while a demure pink gown, absent of lace and febreeze, hugged a body that would make Botticelli weep. The darkness masked her face. The light of a single torch merely cupping her soft jaw the way the hand of a lover should. "Normally I'd agree, but in this circumstance I believe it is you who is in the wrong.
I was on this terrace before you arrived. Perhaps having... before having such a..." harrison paused, his gaze scanning the sky as he searched the darkened night for the proper word. "Preposterous," she supplied. "I was thinking [00:05:00] private, but preposterous might fit a bit better." Harrison waved his hand. "Before having a preposterous conversation as the one I just overheard, you might check that you are alone."
The woman said nothing, the silence filling the space in an uncomfortable haze. Adjusting his cravat, Harrison took a step closer. The shift in the position gifted him a faint glimpse of the woman's eyes, their wide gray gaze stopping him in his tracks. How someone just talking of mating rituals could appear so innocent would forever plague him, the oddity of it rather perplexing.
The woman frowned at him. "Isn't it the responsibility of a gentleman to ensure that women are at ease by announcing their presence? Especially once it becomes obvious that their conversation being had is one of a private matter?" Harrison raised a brow in her words. "So I am supposed to announce that I am here?"
"Yes, I believe so." He shook his head. "That is utterly absurd. All of this could have easily been avoided if you had simply ensured you were alone before beginning such a ridiculous conversation." "No, all of this could have been avoided if you had removed yourself before the conversation [00:06:00] veered toward ridiculous.
Why do men tend to place the blame upon the women when they are in the wrong?" "I beg your pardon, Miss-" "Lady," she corrected him, the word flat. " Lady Phoebe Kent." She said the sentence without harsh tone or barb, as if talking of the weather, and Harrison was taken aback. Young ladies, no matter their age, happily corrected anyone who assumed them lesser, but not Lady Phoebe.
If anything, it was as if she were resigned of the fact. "Lady Phoebe, perhaps we've gotten off on the wrong foot. I merely meant-" his words were interrupted once more at the onslaught of giggles that joined them on the balcony, their volume getting louder as the pair came closer. Grabbing Lady Phoebe, Harrison steered her to the dark alcove he had hidden only moments before.
"Stay quiet," he whispered in her ear, the scent of honeysuckle tickling his nose. Thankfully, the mist kept silent as the young women's voices came toward the spot that they had occupied, their chitterings setting Harrison's nerves on edge. "I hope Mr. Green recovers from his dance with Lady Violet. The insipid girl plodded his feet endlessly during the [00:07:00] reel," one voice said.
Tabitha, the second voice said with a giggle, "what if someone hears you?" "Oh hush Minnie, who is going to hear us over here? Everyone must be inside watching the Marquis of Greenwood dote upon his new wife. Strange that Lord Everly hasn't joined them." "I'm certain I saw him earlier this evening," Minnie whispered.
"I hoped he would dance a waltz with me. He is unbearably handsome." Harrison rolled his eyes at her words, choosing to ignore the precious comment about him. He would greet Meg and Oliver when he was damned well felt like it. And at present, he had little interest in doing so. "Did you hear what Lady Phoebe said about bees?"
Her mother's face practically turned the shade of a strawberry," Minnie said with a high pitched squeal. "The girl is an absolute nightmare, with her unadorned dresses and tufts of cotton sticking out of her ears. Her family should be ashamed, parading her about this season with the rest of us. She has no decency, spewing every iota of nonsense that pops into her head."
"Did you see her fanning herself? One would think she were perishing of the heat, in the heat of the desert, instead of in a ballroom in London. Her father should have committed her to a [00:08:00] nunnery. She'll never marry, of that I'm sure. I'd place money on it," Tabitha said, sounding every bit the future matron she no doubt planned to be.
"We should start a pool," Minnie said, her laughter ear splitting. "No one would win. Poor dear might as well join the shelf now," Tabitha said with a snort. Lady Phoebe stood tense beside him, her breath shallow as she listened to the two women insult her. Her every movement sent tingles of awareness coursing through him even in the darkness, especially in the darkness.
Her body pressed against his, her warmth spreading through him through the layers of cloth, and when she took a sudden deep inhale of dismay, his jaw clenched. Harrison was sorely tempted to intervene as the two girls gossiped, but his presence would only add kindling to the fire, no doubt already swirling around Lady Phoebe.
And in truth, he was not a knight who slayed dragons for young ladies. "We should go back in, Tabby. I'm sure my mother is already looking for me." Tabitha sighed. "Let's hope we marry this year so we can truly enjoy all the offerings of Lord Brinsley's ball." Minnie giggled, the sound softening as the pair retreated back inside.
[00:09:00] Harrison turned to Lady Phoebe, uncertain whether the miss would faint at what she had heard or become a raging storm. Much to his surprise, she was neither. "I wish there was a better way to go about this whole matrimony bit," she mumbled, stumbling, stepping away from him and back into the spotlight the moon created.
"What do you mean?" He asked, following her. "All of this, the balls and the courtship," she waved her hand to the inside. "It's all an act devised to cover the true purpose of it all." Harrison felt the corner of his mouth quirk up in a smile. "The true purpose?" "Yes. Yes, marriage is a business deal, a contractual entity, and nothing more.
Sure, there are the occasional love matches, but most of the people in there searching for a spouse aren't looking for love, they're looking for a merger. Why must there be all this fuss with rules and manners and uncomfortable garments when we can simply come to an agreement as one would with a company?
It would certainly be a bit more comfortable affair for everyone involved." I thought ladies liked balls and courtship. Flowers, chocolates, strolls through Hyde Park, sweet treat at Gunter's." Lady Phoebe blew a raspberry at his [00:10:00] statement, thusly proving all the more that this was not the setting for her. "I can do all those things myself."
"Yes, but isn't it nicer when they come from another?" She shook her head, her face alight with exasperation. "Not when the meaning behind them is empty." Her words echoed, bouncing around in his head, striking the bits that wanted nothing to do with emotion anymore. With a frown, he looked at her. "Alright, Lady Phoebe, then what is the perfect solution?"
"A contract," she said, matter of factly as she began to pace back and forth on the stone balcony. "Isn't that already done?" "Between the men, absolutely, but I mean a contract between the two parties tied together in marriage. One with rules and regulations. A map so both know what they are agreeing to without all the nonsense that is required in a season."
"Isn't that rather cold?" She looked at him then, her piercing gray eyes ablaze with indignation. "And this is not?" Lady Phoebe made a deep curtsy, her light pink skirt spanning against Lord Brinsley's stone balcony. "I should return to my mother." She did not wait for his agreement, but took her leave, the hem swishing at an almost sullen pace, as if it, too, did not want to return to the ballroom.[00:11:00]
Harrison watched the woman until she disappeared into the crowd, then resumed his spot on the balcony, his gaze searching the night sky. He had come out here for a moment of respite, a second's reprieve from watching Margaret Ludlow, the woman he had loved, be fawned over by the man she married, but instead of quiet, he had found her.
Where others might have found her forward thinking harsh and unnerving, Harrison had enjoyed it. She did not dance around a subject, but instead voiced her thoughts openly, uncaring that the world around her would think her bold. It was a refreshing change from the simpering debutantes inside the ballroom, which made it all the more a pity in his eyes.
Lady Phoebe would most likely never marry and end up a spinster, just as the two girls suspected. London society had very little liking for the bold and brash. No doubt the young woman certainly had a perilous journey before her, and while he felt for the girl, there was very little he could do. He was no knight in shining armor.
More than likely, he was the sad fop who would go about the rest of his life pining over what could have been the maudlin jester, and no one would ever want to be rescued by him. [00:12:00]
Katherine Grant: Aww, what a hero who just needs a squeeze. He does. That was lovely. Thank you so much for reading that. I have lots of questions for you, but first we're going to take a quick break for our sponsors.
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All right, so I am back with Emmaline Warden who just read a scene from The Seasonal Habits of Husbands and Honeybees from her series The Genus of Gentlemen.
And there were a couple of things that stood out to me from that scene. One is obviously our heroine Phoebe is a little short. She's very blue stocking ish and she doesn't quite appreciate the rules of society. I'm not sure she doesn't understand them. Or if she understands them and just finds them futile.
So I was curious, like, how did you approach writing her and where did that inspiration come from?
Emmaline Warden: So Phoebe is neurodivergent. At the time that this was written, she would have just been [00:14:00] labeled odd, but she's very much sensory processing and very, very like regimented. The rules are all laid out for her.
They're really, it's all black and white. There isn't any gray area. And I've wanted to write a heroine who is obsessed with beekeeping and bees are very meticulous. Everything is, is a process, everything has rhyme and reason to it and what they do. And I was like, why, why shouldn't a heroine be that way as well?
I mean, you know, this, this is, not a new thing that we're discovering. Obviously being neurodivergent, being on the spectrum is something that we as humans have dealt with for forever. We just only now have started to actually call it what it is. And so I kind of went about that with with Phee and I chatted with a lot of my friends who have children who are on the spectrum or who they themselves are on the spectrum.
[00:15:00] And oddly enough, as I was writing Phee and I was talking about, you know, the things that she disliked about the balls and society and all of that, I started to realize that a lot of the things that she dislikes are part of the things that I tend to feel uncomfortable with in social circumstances. It really kind of became eye opening for me of like, huh, like maybe that wasn't, you know, my anxiety, but maybe my body is actually, that's how it processes these circumstances. So there's a, there's a lot of Phee in me and me in Phee.
Katherine Grant: Yeah, that's so interesting. And I think it speaks to how like, we think that we're writing a story about X, Y, and Z.
And then when we actually get into it, it's like, Oh, wait, maybe this has to do with my issues. Not that it's an issue to have a neurodivergence, you know, whatever. Yeah. I really love that. And another thing that this [00:16:00] scene set up and also the blurb of the book is that we're about to have a marriage of convenience between Harrison and Phee, which is one of my favorite tropes ever.
So I'm really like, I'm hooked already. But I was curious. As you you know, it's such a strong marriage of convenience setup. Did you begin the book or do you tend to begin books knowing that, oh, I want to try out this trope or is there something else that hooks you into a story?
Emmaline Warden: I think it's, it's not so much I want to try this trope.
It's it usually actually comes from other media. This book really kind of piqued my interest with after watching To All The Boys I Loved Before and how they both sat down and created this list of what their fake dating was going to look like. Right. And they had an agreement and they shook on it.
And I was like, this. That seems like something Phee would do, where she would want to sit down and pen it all out and say, [00:17:00] this is what my marriage is going to be, and treat it like a business deal and renegotiate. And that kind of became the setup of, okay, obviously that's marriage of convenience. How do we get there?
Katherine Grant: Yeah, and I know Harrison is a character that was introduced in book one. So did you start with Harrison, thinking about who would he end up with, or did you have Phee as a character that you wanted to write, and then Harrison was kind of conveniently your next character, and they worked really well together?
Emmaline Warden: Oh, Harrison was definitely the next character of the book, and I, I knew that. I knew, I knew he had this like golden retriever energy. He just, he wants to love you. He wants to be there and to take care of you and to, you know he gets joy from being around you and just the things that he had gone through in the previous book which there wasn't a lot of backstory with him, but it was kind of hinted at it made sense that he would, [00:18:00] He would need to be invested to fall in love with somebody.
There would need to be an actual, like, love match for him to want to do that. Or it's going to need to be a complete opposite. And it's just going to need to be, you know, this makes sense. I'm probably never going to get to where I want to be. And then, yeah, Phee really just started out with beekeeping. I wish that there was a better story for that, but I was like, I am super invested in bees right now.
I wonder what that looks like.
Katherine Grant: And is that because you are beekeeping yourself?
Emmaline Warden: I wish I was beekeeping myself. No, we, we live in, in outside of Denver. So beekeeping is, it's a lot harder. Yeah. But I, I garden a lot. I have I have 22 plants as of present and then of course it's summertime. So I have an entire garden that is.
And my natural thought is, okay, what can I do to get pollinators into the garden? [00:19:00] You know, what flowers can I use? I was looking at little carpenter bee homes that you can get. And just kind of became really fascinated with the process of beekeeping.
Katherine Grant: Yeah. And did you do a lot of research into beekeeping in the Regency era versus modern day?
Emmaline Warden: Yeah. Yeah. Yeah.
I actually did it with both mainly because a lot of the information that we have now, they didn't have then, and a lot of the, the hives that we have, have set up. You know, they look like boxes. That was not what they were dealing with. They had things called Huber hives, which looked like books.
It was, it was a lot of interesting things. And again, to the beekeepers were typically doing it, not for, you know, pollinating whatnot, but because they needed the wax. So a bee colony was. It was a business. It was treated like, you know, livestock or, or gardening on agriculture. So like a lot of the times they would, I don't remember if they had fully figured out smoking them out yet to get [00:20:00] them to kind of calm down, but they would drown a colony.
If the colony was too aggressive to be able to get to the wax and the honey and all of that. So it was, it was a lot of like back and forth. I very much wanted, I don't know if you are I think you're present on TikTok. There is a a woman in Texas who talks in a very melodious voice and she talks about rescuing the bees and today we're going to get a high and it's very like calming and soothing and her whole thing is getting colonies that aren't, don't have a home that they're, you know, in someone's wall or a tree or whatever, and she collects them and she relocates them.
And so I wanted that comforting, like, feel with it and fit it in the Regency area.
Katherine Grant: That's so cool. I'm going to have to go check out that channel on TikTok now and get
Emmaline Warden: [00:21:00] I can't even explain. I put it on and just listen to her and I'm like, yes, save the bees.
Katherine Grant: Well, and I read that you would say that you have this series, the Genus of Gentlemen, which is kind of low angst about
you know, beekeeper and gardening and all of that. And then you also have a spy series, which you describe as being a 180 from that. Do you feel like your writing or research process changes as you're writing these two different types of stories?
Emmaline Warden: It really
does. The spy series. So the thing that I adore about my spy series, which is called London's greatest spies.
And the first book seducing a spy is out is that the women are the spies in the series which at the time was not very common for women to be involved in the foreign office. But I kept kind of coming back to this idea of like, why not women? Like, if anything, a woman has an easier time accessing [00:22:00] places than a man would because there are so many occupations, especially in the Regency time, where she would be in positions that a man probably wouldn't be able to get into.
And so there was a lot, that a lot of research not just on the Napoleonic Wars, which was, intense and a lot of information but also on women spies during the Regency time period which there were which is my favorite thing. A lot of the feedback I got when I originally was submitting this book for contests and things like that in the very beginning of my career was
this isn't accurate. This isn't historically. And I was like, I kind of want to pull a Ms. Bev and just have like a glossary in the back with like notes from the author of like all of my reference information of like, you know, The people that I used as examples for this and how women would dress, would adjust their dresses to actually fight, like [00:23:00] with sword combat.
And like, it's, but I mean, you, you look at those things and then you compare it to like cow manure and spinach plants, which is what the first book has in it. And it's, it's completely different.
Katherine Grant: Yeah, no, absolutely. I mean. I think people, readers tend to have an understanding that is informed by what they've seen in other books.
So when we're introducing things that haven't been in the genre before, then they're quick to think, Oh, this is unbelievable. But that's just because they haven't been researching the era the same way that we.
Emmaline Warden: Exactly. Well, and it's, it's similar neurodivergent it, this, these aren't new ideas that we've come up with, you know, within the last, These are things that have consistently been around, you know, that, that there have been women who have been behind and, you know, charging these, these things and dealing with [00:24:00] these things.
And I think it's, it's nice to see them in the Regency area.
Katherine Grant: Yes, absolutely. I listened to an interesting podcast. This isn't Regency, but it's adjacent. A podcast from Conan O'Brien's wife, I think. And it was about Peggy Arnold, Benedict Arnold's wife, and it was about her life and it was kind of making the argument that she played a really big role in facilitating him being a spy for the British in the Revolutionary War.
So yeah, that's just one example off the top of my head of how, you know, even when they're not officially the spy, like, hello, we've been here, we've been married to these men, we've been facilitating their lives. So yeah, we're part of the story.
Emmaline Warden: Exactly. Exactly. And, and I honestly, most of the times and fairly equal part of the story, you know shoot, just [00:25:00] even like watching the Hamilton musical Hamilton wouldn't have been able to do a lot of the stuff he did
if Eliza wasn't at home making sure that, you know, everything else was good. It's, it's, it really is. It's, it's a balance and it's understanding that women have the same position and the same authority and the same space to take up as men.
Katherine Grant: Absolutely. Well, that sounds like a good place to segue to how much of a rule breaker are you?
Because we're breaking rules by saying women can take up space. So we're going to play love it or leave it.
Katherine Grant: Okay. Love it or leave it, protagonists meet in the first 10 percent of the book.
Emmaline Warden: Love it. Absolutely love it.
Katherine Grant: In the scene you just read, they met in the first, like, 1%.
Emmaline Warden: Oh yeah.
Katherine Grant: Which is fantastic.
Emmaline Warden: Oh yeah. No, definitely.
I, I think for me, I want to see them [00:26:00] together and I want to see them building what it is that I'm rooting for. You know, so the sooner we can get them to bump into each other and have their meet cute is it's the best for me
Katherine Grant: Love it or leave it do a point of view narration.
Emmaline Warden: Love it. Love it. I
think that's
probably
one of my biggest complaints I I adore the hating game. I adored the hating game so much. Do I think that it would have been phenomenal to have josh's viewpoint on the whole thing as well and be able to be in his head and hear how much he adores Lucy and why he does the things he does.
Absolutely. I feel like that would have shifted the entire book.
Yeah.
I got to have it. I got to know what they're thinking.
Katherine Grant: I agree with you. I always feel like I'm just missing out if I don't have
that.
Emmaline Warden: Right, and I love information. And I want to know what makes you tick.
Katherine Grant: Yeah. [00:27:00] Alright, love it or leave it.
Third person, past tense.
Emmaline Warden: Love it. I love it. I do. I'm I'm writing a a YA right now that I'm trying to do in first person and it, it is taking me for a ride. I want, well, I want to get back to third person fast so badly.
Katherine Grant: Wow. Okay. YA, Interesting.
Emmaline Warden: Yeah.
Katherine Grant: Love it or leave it third act breakup or dark moment.
Emmaline Warden: Leave it. I know that that's the That's the rule, right? We have the whole, like, how to write a romance. But with my Genus of Gentlemen series, it, it, it doesn't have that. There isn't this, you know, dark night of the soul moment. It really is you just watching two people kind of figure out how to be together.
Hmm.
All right. It's sweeter.
Katherine Grant: Yeah. Love it or leave it, always end with an epilogue.
Emmaline Warden: I love it. I love it. [00:28:00] It's like it's like a gentle come down. Like you got to watch this amazing thing play out in front of you. So you can't just like cut it off. Like you can't, you need, you need some aftercare.
Katherine Grant: Yeah.
It's like an encore to a concert. You can't just leave. You need to sing one more song.
Emmaline Warden: You need them to come back out and just be like, okay, one more, one more.
Katherine Grant: All right. Love it or leave it. Share research in an author's note.
Emmaline Warden: Love it. Love it. Beverly Jenkins. I will always and forever say that she is the queen of Like, it just, it kind of feels like a, like a way of saying like, try and come for me.
Like, here's all of my research here.
Katherine Grant: And also there are a lot of readers who might have their curiosity piqued and then they can go down their own research rabbit hole.
Emmaline Warden: And I mean, even that too, I think of like Sarah McLean did an anthology with Joanna [00:29:00] Schupe and I can't remember who the third author was, but it was all regarding shortbread cookies for Christmas.
And they all had their shortbread cookie recipes in there. And like, for somebody who's never tried shortbread cookies, like, that's exciting and fun to do, and it's just, it's, it's another little additive, right?
Katherine Grant: Yeah. Oh, that's fun. Alright, well, and are there any romance rules I didn't ask about that you like to play with or break?
Emmaline Warden: Oh, gosh. I like I like unlikely, unlikable hero, heroines. I like unusual heroines. I don't, I don't know. And I, I want them to be older. I guess I say that and it's like 30 is not old.
Katherine Grant: But like, but in,
in
Regency romance, that's ancient.
Emmaline Warden: It is. Absolutely. Right. Like, but that's I have, when I was younger, it made sense, you know, when I was in my 20s reading about these 18 year old debutantes and whatnot, but when I'm in my 30s, [00:30:00] I'm like, you've, you've seen stuff and that front piece of your brain's fully formed and figured itself out.
And I want to see those functioning people find their HEA. So, yeah, most of my heroines are, Are of the, you know, elderly in that, that time sort.
Katherine Grant: They've lost the bloom of youth.
Emmaline Warden: Exactly. They're really on the shelf.
Katherine Grant: Well, that's fantastic. I love that. I really have appreciated this conversation, but before we wrap up, where can our listeners find your books and you?
Emmaline Warden: Oh, goodness. I am everywhere. I am on TikTok. I am on Instagram. I'm on Facebook. I'm on, we're calling it Twitter because I won't call it X. And I also have a website, emmalinewarden.Com. There are links to my books there. My books are available for purchase at all retailers.
Yeah, that's awesome.
Katherine Grant: Well, thank you so much. I hope that everyone goes [00:31:00] and finds out how this marriage of convenience works out.
Emmaline Warden: Awesome. Thank you so much for having me.
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.