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Jane Hadley Samples A Fine Looking Soldier
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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'm super excited to be joined today by Jane Hadley. Jane lives under seven layers of blankets staring out into the cold tundra of Minnesota winter from behind her original wavy glass, 1915 windows, which she stubbornly won't replace because old things are inherently valuable.
By day, she works in K through 12 history education, and by night she flits [00:01:00] between a number of different hobbies, all of which intrigue her historically oriented mind, but none of which provide her with greater satisfaction than writing about people falling in love. Jane, thank you so much for being here today.
That's my pleasure. I'm so excited to talk with you. Yeah. I am so excited. So you are reading today from your Civil War Historical Romance, A Fine Looking Soldier. Yes. What should we know about it before you get started?
Jane Hadley: Yes. So A Fine Looking Soldier is the story of a woman who dresses as a man to enlist in the Union army, only to fall Infuriatingly infatuation with her bunk mate, who is very suspicious of her and knows she's up to something.
I am gonna read from kind of the latter half of this book. So our main characters are Henry Schafer and Charlie Smith. [00:02:00] Charlie Smith is her alias name and her kind of birth name is Cate Ellis. And so she has disguised herself and is you know, in basic training at Fort Snelling here in Minnesota
with Henry. And he has learned that she is woman at this point in the story and he's really trying to keep his pronouns straight in the scene in order to protect her secret. But he also maybe has a teeny tiny, really big crush on her at this point. So I will get started.
They went through the motions of marching, each company parading before Colonel Van Cleve in turn, the commissioned officers eager to demonstrate their efforts to learn, then teach their men the school of the soldier. The companies generally did well marching as one, as they'd had occasion to practice that already, but they struggled when two companies were moving to occupy the same space.
Several collisions occurred, which seemed so absurd to Henry because they did not move fast, and there was plenty of time for the groups to [00:03:00] stop before they collided. But the power of orders they had trained to obey these past four months combined with a confusion about who should make a decision about what and when caused many a squad to march haphazardly into each other.
After about an hour of this, Captain Noah did the mercy of disbanding them for dinner. Henry sat next to Smith on the bench as he shoved food into his mouth. He nudged his elbow against hers. She didn't flinch away and in fact, applied pressure back. Henry grinned into his tin plate and then looked up to track the conversation at the table.
Krueger was across from him and lifted an eyebrow. Henry twitched his arm away and glared back. Henry had no intention of letting him pick away at him, making insinuating comments about the Turners, but it reminded him that he should do well to keep his infatuation with Smith hidden. No one else knew that he was secretly a woman.[00:04:00]
"Fellas, I've got exciting news!" Elias exclaimed as he eagerly slammed his plate down and wedged himself in between Kruger and Jacob. "We just got a big load of uniforms from the federals." Henry sat up straight in his seat, almost in unison with the rest of the squad. "Yes!" Williamson exclaimed in a characteristic squeal.
"Did they get the caps too?" Jacob asked. "I want a good CDV of me and the whole getup for Mary before we leave." Elias nodded. "Yes. Forage caps and everything. Even the nap sacks and the water canteens. You guys, bayonet scabbards. The whole kit and caboodle." The excitement across the table was palpable. Henry shoveled the last of the bland stew into his maw as words spread up and down the tables.
As soon as they were through, the squad hustled out to the parade ground, lurking outside the door of the quartermaster in hopes of being the first to get their uniform. Sergeant Osborne found them there towards the head of a [00:05:00] mob that had turned into a haphazard queue and regarded Elias with a long suffering sigh.
"So I take it you told them about the delivery." Elias grinned. "Well, I suppose I don't have any orders to give as you're already doing what I was going to tell you to do." With a shrug, he joined their group. After a few moments, the quartermaster opened the door and began shuffling soldiers through, taking a rough measure and distributing the many sundry items of their new uniforms.
With their goods piled into their arms, the entire squad hustled out of the fort and across the parade ground to their tents. Henry was the first back to his tent, Smith close on his heels. It had begun to rain again. A cold drizzle that cut to the bone. He crawled in first, dumping the pile of brand new clothes onto his gum blanket, and seating himself cross-legged to take stock of all he had received.
Smith crawled in behind him and tied the tent flaps together. [00:06:00] Henry eagerly spread the blue wool coat out in front of him. Brass buttons embossed with the seal of the United States marched down the front, and a bit of piping lined the collar in cuffs. Blue trousers made of the same fabric were folded neatly along with it,
forage cap on top. Henry grinned, shrugged his coat off, and shoved his arms through the sleeves of his new uniform. When he looked up, he caught a flash of Charlie's eyes on him as she hung that blanket from the center pole. He didn't really know what he'd expected, but whatever it was, the hanging divider was a disappointment.
In comparison, there was shuffling as she tried to maneuver in the con cramped space she had made for herself. He thought he might try to convince her that it wasn't necessary, but he hesitated, not wanting her to think him eager to take advantage of the situation. He knew he was trustworthy not to observe too closely, but she was not privy to his thoughts and might have a [00:07:00] number of preconceived notions about what a man might do in a tent with a half dressed lady.
The gray blanket certainly did little to help him forget that that was precisely what was happening. So he did the only thing he could think of to do. He talked about the weather. "It sure will be nice to have these great coats now that the frost has come," he said. "This rain has been awful." "It'll help when we head for the front,"
smith responded. "I understand they scarcely ever get snow in Virginia." "That'll be a relief. These winters are hell froze over,"
Henry complained, unbuttoning his suspenders and wiggling out of his wool trousers to swap them for his new blue ones. The air was biting cold, making the hairs on his legs stand up. He kicked the trousers off his ankles urgently so he could pull his new ones on as quick as possible, but trying to get them off over his boots was more trouble than it was worth.
Meanwhile, his balls were trying to retreat clear into his body to escape [00:08:00] the cold. It was lucky they were headed to the front because he had not thought to bring his flannel drawers. "Last winter, I heard there were folks up near St. Cloud who froze to death because they went out in a blizzard to milk a cow, and the snow was coming down so thick they got lost on their way back from the barn,"
Charlie said, slightly muffled. Henry leaned down to pull at his trouser ankles, contorting under the slope of canvas. Now that he was halfway through without removing his boots, there was no reason to double back and start over. It was just the cuff of the trousers probably caught on the boot sole. As he scrambled, his heel caught at the blanket in the middle of the tent and pulled it taut.
It held for a breathless moment before the edges tucked around. The center pole slid loose and the blanket crumpled with scarcely a rustle to the ground. Henry froze guiltily and stared at what the rough felted wool had been hiding from view. Charlie was buttoning up her stays over a clean white [00:09:00] shirt, tightly woven enough that he couldn't really see the curve of her breast, but thin enough that he could see the shadow of her nipples.
And there he was with his pants caught around his ankles, the drape of his own shirt doing very little to hide his immediate interest. It was cold, but his face was burning with embarrassment. He didn't usually wear drawers, but for the first time he felt strongly that he might start.
Charlie hadn't noticed yet.
She had her chin tucked to one shoulder, buttoning a shoulder strap in place, her dark curls falling over her brow. Henry thought to reach out and try to replace the blanket, but he was terrified that if he moved, she would look up and see that he had a hard one, and Smith's disdainful glare would narrow her eyes and he would be humiliated.
So he remained frozen. His knees up and his shirt tucked between his bare legs. His mouth was so dry, he thought his tongue might get stuck to the roof of his mouth. She must have sensed something was wrong because she looked up and regarded him with her wide [00:10:00] dark eyes for a moment that felt like a goddamn eternity.
Her expression hardened, and she opened her mouth as though to tell him off, but right at that moment they both heard a voice just outside their tent. "Hello there, Corporal. Very fine coat you have there." It was Jacob's laughing tenor. "Why thank you. I just had it done up," Elias replied. Charlie shut her mouth, but her eyes were livid as she pulled her stays tight around herself and fumbled with the buttons.
Henry winced and mouthed, "Sorry!" Her eyes darted down at the blanket and then back up at him. Her eyebrows lifted. Expectantly. Henry reached forward as best he could and snatched one corner of the blanket, dragging it towards him. He tried to tuck it into the center pole, but it pulled itself back down by its own weight with his ankles hog tied by his trousers and his thighs pressed tight together for modesty sake.
He couldn't manage much more than that. [00:11:00] "What the hell is wrong with you?" Smith hissed. "I'm stuck," Henry hissed back. Smith sneered at him and quickly finished fastening the buttons on the stays, then reached behind and pulled the laces snug. His warm and cozy bedfellow was nowhere to be found in Smith's flashing eyes.
Henry reached down and resolutely tugged on his pant legs, freeing his ankles. He quickly shuffled to pull his new blue trousers on, yanking the itchy new wool over his boots and up over his bare knees. Smith, for his part, had slung his new coat onto his shoulders and was fastening up the brass buttons with clumsy fingers, trying his best to look everywhere, except at Henry. Despite his scowl, his cheeks were pink.
"Really? I should get the name of your tailor," Jacob said to Elias, still just outside. The two of them laughed. Smith glowered in their general direction, rolling his eyes. Henry struggled with his [00:12:00] trousers, trying to get them up over his hips without compromising his own privacy. " Could you get that blanket hung again?" Henry murmured as he rocked the waistband higher while still trying to keep his knees blocking his more vulnerable places. Smith glared at him and crossed his arms. "Oh, I'm sorry.
Did you want privacy?" Henry felt a strong flush coming to his cheeks. "Come on, it was an accident." "Tit for tat, Schafer. Put your pants on." Charlie Smith looked down her nose at him and pursed her lips in a way that seriously reminded him of his primary school teacher in Cincinnati. Unfortunately, it did nothing to toss ice on his erection.
She wanted to watch him or mock him. It was unclear whether he was dealing with Charlie or Smith. Henry took a shuttering inhale and tried his best to shimmy the waistband of his trousers up over his thighs, hunching over to hide his tented shirt tails. He stuffed the ends of them into his trousers, [00:13:00] shifting from side to side.
He tried to get them on the rest of the way, but he couldn't get them up over his butt. A glance up at Charlie showed her trying hard to hide a smirk. She watched him unabashedly. Henry shook his head and sighed.
Then he tossed himself back and lifted up his hips, shoving his traitor horn into the trousers with one hand. As he pulled them up with the other, he fastened the button fly and his suspenders, blushing furiously, and glared at Charlie. "Happy now?" He asked as he made for the front flap. Charlie wasn't even trying to hide her secret little smile anymore.
"Mm-hmm," she murmured, her eyes glittering with amusement as she gazed down at his waist. He waited for her to crawl out of the tent. She regarded him for a moment with that enigmatic smile before she said, "after you." Henry's brows furrowed. He felt like he was being tricked, but he couldn't put his finger on why.[00:14:00]
He gave an exasperated sigh and flung the tent flaps aside, crawling out into the freezing drizzle. If that didn't cool him off, nothing would. Luckily, it looked like the rest of their squad had already set off for afternoon drills. As he stood, he felt a swat on his backside that made him jump a mile high, letting out a startled yelp behind him.
Smith quit the tent and stood placidly. "You forgot your cap." Henry glared and snatched it from him, pulling it down firmly on his head. Smith laughed and loped off a head, Henry jogging halfheartedly behind him, thoroughly confused. He couldn't decide if Smith was laughing at him or if Charlie was laughing with him.
This two personas business was becoming more effort than it was worth.
Katherine Grant: Wow, that was such a fun scene. I loved a lot about it, especially how all of the soldiers [00:15:00] are just such young men being buffoons together. Yeah. There's, there's a lot of ding-dongs in this book. I love it. Well, I have a lot of questions for you, but first we're gonna take a quick break for our sponsors.
Katherine Grant: All right. I am back with Jane Hadley who just read a sample of A Fine Looking Soldier and like I said, there was so much fun about that scene. The soldiers around them being just ding-dongs as you said. I loved that you had their training like that they were bad at marching. There's just a lot there.
Jane Hadley: That's just historically accurate. Like they were bad at marching at that time. They were really bad at, yeah,
Katherine Grant: I was, I was gonna ask how much of this was inspired by you, like interacting with this history and being like, oh, I wanna write a book about this.
Jane Hadley: A lot, a lot of it was. I had read a book [00:16:00] about women who had dressed as men or, or people who were assigned female at birth who dressed as men to enlist in the Union Army.
And there's so many interesting stories and there're so dramatic. There's a, a woman who is named Sarah Edmonds. And she was a medic. And then she like had this really close relationship with this other guy and they shared a tent, but then she started sharing a tent with a different guy and it kind of all blew up and then she like, just ran away.
It's great. I'm like, why is this not an entire genre of romance novels? I would read these all day long. So trying to be what I wanna see in the world, right? Decided to write over the pandemic and I didn't think it would be as hard as I, I really just could not stop researching this book. I have a whole array, like all of these books behind me.
All of these ones are all related to this story and I've [00:17:00] relied upon them for information.
Katherine Grant: Well there is obviously a long tradition of this history and also historical romances with characters who are women at the beginning and, and then like, you know, go undercover as men for various reasons.
Sometimes it's not in armies, but often it is. And so it's a, it's a trope that we've seen. There's real history behind it. And then we also have a more modern understanding that people's gender is different from the sex that they're born with. And that perhaps some of these instances in real history might have been, you know, people finding a new gender identity.
I was curious, as you approached the story, how did you think about it with our modern gaze Looking into this historical phenomenon?
Jane Hadley: I've struggled and thought about this a lot because I conceive of Charlie as a [00:18:00] character who in, in our modern parlance would identify something along the, the non-binary spectrum.
Because she's really, really deeply uncomfortable with the things she's being asked to do as a woman with marriage and child. Like she's deeply does not want have children. And she really doesn't want to be in the domestic sphere. Like none of the things that is are expected of her are things that she wants to do.
But she also, on the other hand, doesn't really have, enormous amount of like gender dysphoria in terms of her body. She's fairly comfortable in her own skin. She feels like her body is a liability for her. And so it's been really, I really, really love gender dynamics, gender roles.
This is something that I come back to again and again in my books because it is clearly something I need to write about. So I think for her that builds across the story and throughout the first book, and then also in the second book, she really [00:19:00] has to think about who she is and what she wants and who she wants to be, not just
in the army or in this war, right. She's using a lot of her deeply held beliefs about morality and humanity. And I justice to justify going into the army. But once she gets there, she feels like herself. Mm-hmm. And she can speak her mind in ways that she wasn't able to before. And she finds a great deal of freedom in that.
Yeah. And that's really interesting. That's been super interesting to explore and to think about and I'm trying, I try to do it as sensitively as I can. 'Cause we all have different, like so many different people have so many different experiences with gender and mm-hmm. So this is one.
Katherine Grant: That sounds very interesting. I was, I also was picking up that, you know, we know that she has. A different name that she had before she enrolled. [00:20:00] And then Henry's like, well, is it Charlie or is it Smith? So even within this, this new identity that she's created, she has multiple identities that her fractured.
Jane Hadley: Yeah. Yeah. 'cause she kind of has this shell or this armor that she wears, which is Smith. And then as, as Henry starts to get to know her better, he starts to see what's underneath that armor and finds that he quite likes it quite likes that person. And he has a lot of kind of exploration to figure out what that means for him.
'cause that's also, you know, being in love with somebody who's, who's walking this, this edge of genders is not something he ever imagined. Like, like in the mid 19th century the gender binary is really, really separate, right? Yeah. There is not gray space in between that in terms of, of like in a cultural way, right?
So there's no gender neutral pronouns. They really don't have language or tools to talk about this. Mm-hmm. [00:21:00] So that's something that they have to kind of figure out. And I really wanted to keep that language as close to what I thought they would have. So pronouns has been,
has been an issue as I've been writing.
Katherine Grant: Now, speaking of the second book it's these, so this story is a story that originally comes out serially to your newsletter. Is that right?
Jane Hadley: Yes. I have, I wanted to put it out as a serial because I had done
a kind of like a reenactment of The Woman in White. I, I don't know if you're familiar with this book, but it had come out in a serialized format in 1861, I think. Okay. And all, all the year round, which is, which was Charles Dickens', like Serial Newspaper Journal and then also came out in Harper's Weekly.
And it was so much fun to read this story piece by piece. And then it had these illustrations and I was just really inspired by that. And so I wanted to do that for this book. Because I knew it was way too [00:22:00] long, turned into two books. And so it's not only trying to capture and encapsulate this time period, but the way that I'm releasing it also has an homage to that time period.
And we can kind of have this little mini sort of experiential archeology moment as we read it piece by piece. And then I put it together with recipes and crafts and novelties from largely Goldie's ladies book, but also Peterson's magazine. So they're authentic to the period, and you kind of get this, you have this little, this little experience, right?
Along with getting to read the story.
Katherine Grant: That's really cool. And so to, to receive this, we just have to sign up for your newsletter.
Jane Hadley: Yeah. If you wanna participate in the second serialization, all you gotta do is sign up for the newsletter. I will point out though that the second book does not stand alone.
It does not make sense without the first. Okay.
Katherine Grant: Yeah. And so in terms of serial [00:23:00] publication. Does it change the way you write the story? Like, have you written the entire story and edited it and now you're just releasing it?
Or are you writing for each? Okay. You're, it's done and you're just releasing it in the serial.
Jane Hadley: I don't trust myself to be able to write coherently on that kind of deadline. So I, for both the first book and the second book, I finished it before the serialization starts, so that we are all on the same page and we all know like it's gonna come out consistently and it will have an ending.
Katherine Grant: Yeah, that's really cool. And obviously history is important to you in your day job as well as your alternate egos. And so we talked a little bit about how research. Inspired you for this story, but as, so I'm gonna restart this question. Some of your [00:24:00] other works are not civil War based, but are 20th century based.
And actually I think it, when you reached out about the podcast, you were like, I don't know if my most recent book counts as historical romance 'cause it's in the 1970s. So I would love to just have that discussion. Like, what do you think counts as historical?
Jane Hadley: Well, If you look at the National History Day program, students can do projects on anything that is over 20 years old.
So like 9/11 is historical to the National History Program. And so that kind of K 12 education context, right, like teaching, like working with students who weren't even born in 2008 and don't remember the recession. It is wild. So our concepts of history I think are really couched in when we were born and what things we've experienced versus what things came before us.
So for me, the 1970s feels historical, but for other people it doesn't because they lived [00:25:00] through it. I've seen all sorts of random dates thrown around like. Before 1983 is historical or before 1990. It's like, it's just arbitrary really. You know, I think especially having lived through the Covid to 19 pandemic and the racial reckoning after George Floyd's murder, like we, we have lived through historic times and those are things that ha, that have changed us implicitly.
And, and they, they are, they are history. They happened not that long ago, but they're history. And they're definitely going to be something that we're gonna think a lot about and process and maybe interpret and help us tell our story about who we are and where we come from. So I think when I'm thinking about historical romance, I think some folks don't even think like, oh yeah, the 20th century, that is also historical romance, right?
Because sometimes it seems so couched in the very specific like Regency England sort of context. That's something that I like [00:26:00] to play with and do research and think about how people's lives were different and really try to create that, that world around those historical facts.
Katherine Grant: Yeah. I was wondering about how it might feel differently writing historical versus contemporary.
So like even if you decided you wanted to write a romance set during 2020. I imagine if you're approaching it from a historical perspective, as in I'm a historical fiction writer, there's a certain amount of world building you don't expect the reader to be able to fill in with context clues about general things like you might explain what a bodega is if you're in New York City, or you might explain, you know, who Anthony Fauci was. There might be world building involved as opposed to contemporary romance where you might approach it with an [00:27:00] expectation that people are bringing a lot of context to the page. That's my personal theory right now on how it impacts us as writers, whether we're writing something as historical or not.
Jane Hadley: Yeah, I think that's super true and I think time as well as like geography can be a thing that separates us culturally. So a different time is a different culture in, in many ways. And I think there's something really fun and challenging about the idea of trying to figure out, you know, what.
What would it be like to live there? What do you have to think about? What are the things you take for granted? What are the things that you say? You know, I, I mean, historical words and looking up, did they use this word or not in this time period is really a fun challenge. But I also think it's important to make things feel relatable to a modern audience.
And so one of the things that I thought about a lot when I was writing, specifically A Fine Looking Soldier, how do I make these people feel like they're real [00:28:00] people having a real conversation that feels relatable and natural, but also uses the words that they would've used at that time.
And that's been a really, really fun challenge.
Katherine Grant: I think it's time to play. Love it or leave it? Okay.
[Musical Interlude]
Katherine Grant: All right. Love it or leave it? Protagonists meet in the first 10% of the story.
Jane Hadley: Love it. Love it. I want all the tension. I want them to meet so that I can enjoy that tension. Right. The first 50% of the story where everything's just like will, will they, we know they will, but that's my favorite part and that's the part where I blaze through when I'm writing.
Like that's, I get stuck once. Once they're like, okay, let's be together. What does that mean?
Katherine Grant: Yeah. Love it or leave it? Dual point of view narration.
Jane Hadley: I. It's fine. I like it. I, I love the tension of a single POV. I really love it. And I, I used it [00:29:00] in "Oh! You Pretty Things" because I really loved the tension that it built that this, that our main character, like doesn't know what's going on with these other characters.
And us as a reader, we don't know that either. But I do understand the comfort of being the reader and being able to see these two perspectives and they don't know what each other is thinking, but we do. And it's deeply comforting. 'cause you're like, oh, you dumb dumbs, get together. Why don't you talk?
Just talk. So I like it and I could leave it.
Katherine Grant: All right. Love it or leave it? Third person, past tense.
Jane Hadley: Love it. Love it. Absolutely. I hate first person. It feels too invasive. I can't write in first person. It feels like I'm speaking for somebody else and it makes no sense 'cause I made them up.
Katherine Grant: Love it or leave it? The third act, breakup or dark moment?
Jane Hadley: Leave it. I don't [00:30:00] know. I don't like rules, so I like it when that's subverted or we see it in a different way. My own experience with love is that it is hard enough work without having to break up.
Like there's plenty of conflict and tension that happens within a relationship after, you know, folks are like, okay, we're together now, but what, like, how do we, how do we do that?
Katherine Grant: Yes. Okay. Love it or leave it? Always end with an epilogue.
Jane Hadley: I mean, I, you know, I, I hate rules, so I will leave it. I will leave it like, I don't know.
Happy endings look so different to so many different people. It feels really impossible to write an epilogue that feels satisfying for everyone. But I do really like an epilogue that comes in and does this little slice of life and you get those small, happy, joyful moments that come being in a relationship that's really like loving.
And it's just deeply satisfying to see that. And so sometimes I think. [00:31:00] Let's, let's have 'em. Let's have them.
Katherine Grant: Yeah. Alright. Love it or leave it? Always share your research in an author's note.
Jane Hadley: Love it. Love it. Can't live without it. I need to know everything. I need to know what books you read so that I can read them too.
Right. Like I do history as my day job and there's a lot of contention about where the line is drawn between historical nonfiction and historical fiction, and it's maybe a lot more muddy than people would expect. Mm-hmm. So, I really like the interaction between what we can know about a historical setting from evidence and fictional characters where we can explore historical possibilities without putting words into someone's mouth who actually existed.
So. I really love to share sources in my serial. I do footnotes so that I can share with the readers that, you know, oh, this actually happened on this day and this was actually what the weather was like. Or, you know, these are actually the tents that they [00:32:00] used. And I took a, took a liberty 'cause I really just wanted two people in that tent.
Love it. So then I can be clear with that. I haven't put it in the full books, but, it's, it's something that you'll find in the serial version. Okay. If that's your, your thing.
Katherine Grant: And are there any other romance rules that you break? I
Jane Hadley: like to play with tropes. Especially I like subverting gender roles within tropes.
So like, I love a grumpy sunshine where she's grumpy and he's sunshine. I love that. I don't know, we talked earlier about gender. I have a lot to say about gender clearly. Like all of my books have that as a theme, so, so far. So that's something that I, I, I'm sure I'll be writing about more in the future and, and playing with and, and turning upside down and around in my head.
Katherine Grant: All right, well I want to ask, so first of all, this episode is coming out while the second book a Right Honorable Soldier is being serialized, so listeners can go [00:33:00] catch that right now. If we are new to you and missed A Fine Looking Soldier while it was serialized, is there an archive somewhere where we can have the serial experience or is the only way to purchase the full book?
Jane Hadley: The only way right now for A Fine Looking Soldier is to purchase the whole book. I had the archive open about a month after the serialization ended. And then, that was it. There are illustrations, there's 20 illustrations for the book. And if you buy the print version, you can get the illustrations in there.
They did not play well with ebook. So, yeah, I just didn't, I didn't include them, but like you can see, you know, there's illustrations in the book.
Katherine Grant: Wow. For listeners, she just held up an illustration that was a really beautiful little
maybe pencil drawing of two soldiers holding each other in a tent. In a tent. All right, so listeners can sign up right now to get A Right Honorable Soldier in serialized form. They can purchase A Fine Looking [00:34:00] Soldier in paperback to get those illustrations and the whole story. Where else would you like to point listeners to, to find out more about you and your books?
Jane Hadley: Yeah. I have a website, it's called, it's jane hadley writes.com. And you can find out more about any of my other books there and sign up for the newsletter. And I'm also on Instagram. I really like drawing stuff and posting things about how historical romance needs to bring back the man thigh and other
delightful, assertions.
Katherine Grant: Awesome. Well, I will put a link to your website in the show notes, so listeners, you can go click through on that and find everything. Yeah. Jane, thank you so much. This has been a real delight.
Jane Hadley: Thank you so much. It was really great to talk to you, meet you and talk books with you.
This has been a really, really fun experience.
That's it for this week! Don't forget to subscribe to the Historical Romance Sampler wherever you listen, and follow us on Instagram, TikTok, and YouTube. Until next week, happy reading!
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