What would you do if you knew you had seven sexy days and nights in your very near future? We’re talking passion so scalding, so unbridled, and so primal that most mortals never know the like. The catch: those same seven sexy days and nights are most likely going to have to last you the rest of your life. Oh, and you’re not quite twenty-one which means “the rest of your life” promises to be a very, very long time. Lady Bea Lindsey confronts that very scenario in THE TUTOR, my Victorian-set romance published with Harlequin’s super sexy Blaze line. At the opening of THE TUTOR, Bea has gotten herself engaged to a very nice, very dull gentleman. Conventional wisdom counsels that a young woman on the cusp of twenty-one, in this case a young woman of noble birth, purse-poor dowry, and an impulsive nature, dare we say “wild streak” should settle down safely and quickly. But conventional wisdom is not always…wise. And Bea is very much a modern girl-modern in the context of the 1890’s. She may be willing to settle for a dry-as-toast husband at the dining table but when it comes to the boudoir, she is going…

We all have one, which is to say a “The One.” You know what or rather who I mean. The O-N-E. Maybe he was your first love or your first big love. Maybe he was both. Maybe you broke up with him–but I’m betting my next book advance he broke up with you. Maybe you never really had him in the first place…but again, I’m betting you did. At least long enough for a part of him to sink into your psyche and your soul. Like that tattoo you rethink years later, you can obliterate the image but not the experience. That shiny white scar is yours–for keeps. Only by definition The One Who Got Away isn’t a keeper, or at least he hasn’t been so far. And yet who among us hasn’t been moved by those real-life stories of high school sweethearts who find each other on ClassMates.com or reunion night after years, decades apart and fall in love all over again, even marry, in mid- and sometimes late life? Buy EVERY BREATH YOU TAKE… today In EVERY BREATH YOU TAKE…, my latest Harlequin Blaze release, former FBI Special Agent Cole Whittaker and microbiologist Alexandra–Alex–Kendall meet again after five…

To paraphrase the late great John Lennon, life is what happens while you’re making other plans. To directly quote my mother—and mothers everywhere—”Don’t do as I do. Do as I say.” Both sage snippets segue albeit circuitously into my blog topic—how to write connected romance novels, or rather how not to write them, or at least how to recover from (cough, hiccup) going about it all wrong. My Men of Roxbury House trilogy—VANQUISHED, ENSLAVED, and now UNTAMED—is my first shot at writing connected books. Like anyone’s first anything, in the aftermath, there are lessons learned, battle scars to be shown off—and FYI, I’m not just in it for beads. 😉 Seriously, I don’t write like grownups do. Never have and likely never will. For starters, I don’t write sequentially, linearly, or well, in any reasonable, replicable fashion. You’ll never catch me at a writers’ conference touting my “process,” flashing charts and graphs, or God forbid, instructing others on how to write like me. If anything, I’m the textbook case for what not to do. I do it all wrong—and yet for me, it works. I write scenes out of order, the characters voicing firing off like canon shot in my…