Susan: I live outside the town of North Branch, Minnesota. We bought acreage years ago when we were just out of college and have always enjoyed the privacy. We have three children, four grand-children - all wonderful and accomplished - but then I�m biased, of course. One of my passions has always been reading. I collect books. The house is full of them - ten thousand on the shelves - and I keep buying more. Years ago I was a painter and I still dream of having time to paint once again. My newest passion is my garden and I�m already getting antsy to have the snow melt so the new planting season can begin.

J/L: How did you happen to begin writing? Why did you choose the romance genre? Were you an "overnight" success, or did it take you a while to sell your first novel? How did you feel when that happened?

Susan: I began writing by accident. One night I was lying in bed reading, my husband was lying beside me watching TV. The book I was reading was really disappointing and I turned to him and said, "How the heck did this book get published?" Keeping one eye on his TV program, he half-glanced at me and replied, "If you think you�re so smart, why don�t you write one?"

Actually, I�d been sort-of thinking about writing since Kathleen Woodiwiss, then a local writer, had published THE FLAME AND THE FLOWER, and I had come to realize that you didn�t need an English Lit degree to be a writer. Naive me. So I wrote my first story, longhand in my sketch book, typed it up, sent it to three publishers and when none of them wanted it, I decided it obviously wasn�t going to fly. I decided to write a second book. But this time, I only wrote three chapters and an outline. Instant gratification person that I am, I wasn�t about to write an entire book again, if no one wanted it. I sent the three chapters to Playboy Press, one of the large publishers of romance novels at the time. They asked to see the rest of the book, so I took two weeks sick leave from work (I was a curator in the Art History Department at the University of Minnesota), wrote a first draft, cleaned it up in the next month or so, and Playboy Press bought it. That first sale (SEIZED BY LOVE) was one of the most exciting highs in my life, as most authors will agree.

J/L: Would you explain your creative process for us? How do you go about creating your plots and characters? Do you develop a detailed outline before you begin writing - that is, do you have definite ideas about how the story and characters will develop? Do your characters ever take over, leading you away from your planned outcomes and down an entirely unexpected pathway?

Susan: I always begin with a hero. Then I decide on a heroine - someone who can hold her own against him. Next I select a time period and setting that would be fun to research and describe. That�s all pretty instant and vague ... one of those five minute decisions. In terms of some of the continuing family stories I�ve done, the second and third or fourth books have arisen out of happenstance. For instance, SILVER FLAME came into being because I�d had this visual image of Trey near death in a snowstorm just as I was writing the last few lines of BLAZE. The same thing happened when I was finishing SILVER FLAME and I saw Daisy and DeVec first meet in my mind�s eye. I have no control over those occurrences; they just happen.

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My creative process is very improvisational. I rarely plan anything. When I sit down to write every day, I have no idea what I�m going to write. My characters talk to me and I key in what they say. When I first began writing, I�d keep notes on possible scenes for the book when the ideas came to me, but I discovered by the time I came to that part of the story, everything had changed. Lazy person that I am, I found it useless work and quickly stopped doing it.

J/L: You are known for the thorough and accurate historical settings and events in your stories - the Russian series especially comes too mind. Where and how do you go about doing your research? In this same vein, we find the footnotes in your books fascinating. These are very unusual, if not unique, in romance novels. How did you happen to decide to include them?

Susan: Over the years, I�ve done most of my research at the University of Minnesota libraries. Their stacks are open so you can browse, their collection of nineteenth century books is fabulous, and, more important, the books circulate. So I generally go to the library, find a number of books on overall background for the period, as well as those of a more definitive focus, and bring them all home. My stories are mostly based in the nineteenth century, and, over the years, I�ve developed a fairly good background in that time period. Also, my thirteen years as an Art Curator was work-related research that allowed me to become fairly well informed on historical detail. Recently, I�ve been buying more of my research books, rather than having to constantly renew library books. I had a four hundred dollar fine a few years ago, because I forgot to renew my books one month, and at fifty cents a day per book, it added up way too fast.

As for footnotes, I saw footnotes used in the FLASHMAN books by George Macdonald Fraser. I liked the obtuse facts he�d detailed and thought, "What a good idea." When doing research, there are any number of odd bits of interesting information unearthed, but if they were to be included in the story it would bog down the pacing. I had seen that as well - the bogging down - in a historical I once read. The author had taken three pages to describe the curing of hides. Not good, I thought. And I guess, at base, it�s a personal indulgence. I adore those little unknown facts and I thought others might as well.

J/L: Your books are also known for their sizzling hot sex scenes - which are really appreciated by the RBLs! And you've written stories for two anthologies, CAPTIVATED and FASCINATED, which are known for their erotic content. When you first began writing, did you have this type of love scene as a definite goal? As you write now, are you trying to "push the envelope" to have hotter, more erotic sex in "mainstream" romance novels?

Susan: When I first began to write, my initial goal was to write a book like the Regency romances of Georgette Heyer that I adored - only with sex added. Her heroes were so wonderful, but I never had a chance to see them in bed. I thought I�d put them in bed and see how good they were. And that�s what I set out to do; it�s actually the greatest fun in writing - the freedom to say or do whatever you want.

I�ve always been interested in erotica so I suppose my writing has reflected that interest. I don�t have any perceived notion of "pushing the envelope" although I find it gratifying that romance publishing has finally noticed that sex sells everything from toothpaste to cars in America. In Europe, the acceptance of sex as an integral component of life and culture has always been more candid. But, cultural mores apart, I just write what I like to read. I�m really egocentric in my motivation.

J/L: You seem to enjoy writing about nontraditional heroines - for example, many of your heroines are not young and virginal - and we thank you for that, by the way. We especially loved Angel in BRAZEN; she was extremely sensual and made no apologies for it. This is pretty much against the norm for romance novels. What is your motivation for creating these non-traditional heroines?

Susan: I had a professor who once said: "There�s nothing new under the sun." Strong women have always been around. Sex has always been around. Men trying to tell women what to do have always been around. War and politics, religion and commerce - each generation only redefines and refines the parameters. They don�t invent the concepts. So I�m just reporting on incidents that have occurred over and over in history.

I�ve always been interested in women throughout history who don�t play by the rules, who don�t accept the conventions that are generally prescribed by men. My personal favorites are Catherine the Great and Miss Piggy. Miss Piggy for her total "moi" personality, and Catherine the Great for her intellect, strength of character, and open sexuality. Although, her predecessor, Empress Elizabeth was no slacker in that regard either. Angel in BRAZEN was based on the Countess of Warwick, who lived her life pretty much as she pleased. It helped that she was an heiress and the mistress of the Prince of Wales for a time. But she�d been flagrantly independent since childhood, and vastly indulged by her grandfather who left his fortune to her rather than to his son, her father. I�m a little of the opinion that independence is in the DNA, but whether it is or not, I�ve always adored women who live outside the norm. I occasionally write about virginal heroines, but it�s more fun to write about sexually experienced women.

My motivation is always the same in my writing, whether it�s creating non-traditional heroines or writing sex scenes. I write about people, places, and things that appeal to me and engage my interest.

J/L: Your heroes are also nontraditional, especially when compared to the current trend of insightful, sensitive males. They are often licentious, promiscuous, and "imperfect" - yet they are able to establish lasting, monogamous relationships with the heroines. What qualities must a hero have that allows him to make this transition? What qualities would you name that are necessary to make up your "perfect" romantic hero?

Susan: Again, it�s a personal preference. I prefer writing about experienced men who know what they�re doing in bed. I think it makes for a much more enjoyable encounter. Also, it comes back to that Miss Piggy personality. "Moi" requires someone who is expert in making "moi" happy. In addition, historically speaking, noblemen throughout the centuries devoted a great deal of time to their pursuit of pleasure. Remember, a gentleman didn�t work. In fact, the facetious description of a gentleman was a man with no visible means of support. So noblemen had time aplenty to sow their oats and gamble and drink. It was not only accepted, it was required if a man was to acquit himself like a gentleman.

In terms of the hero�s promiscuity being curbed by love, romantic soul that I am, I like the notion that love can make monumental changes in people. When you fall in love, everything is altered. Nor is there necessarily a reasonable answer for why you suddenly can�t live without some one person. But love and reason don�t have a nodding acquaintance. Love is involuntary and mystifying, incredible, fantastic. You have to feel it to know it. It can�t be explained.

The quality necessary to make the transition is motivation. The characters I write about know what they want and go after it. Not that my heroes don�t usually demonstrate some initial resistance. They�ve lived selfishly too long to immediately comprehend that in order to have the lady they want, they�re going to have to make some adjustments in their lives. But they ultimately reach that conclusion. Ah ... the power of love.

The qualities I like in heroes are good looks (terribly shallow, but there you have it), tallness (I�m tall, so I wouldn�t like to look down on a man), intelligence (a serious requirement), compassion (it occasionally overrides his self-indulgent life), a touch of humor, and the worldly wisdom to understand that women like very expensive gifts. It goes without saying that he must act like a man on those occasions when it�s required. One of the most beautiful maxims I�ve ever read was the Daghestani code for a warrior: Ride well, always speak the truth, and never show fear. That about says it all.

J/L: In several of your books, the hero has sex with another woman after he has been intimate with the heroine - and in a couple books, the heroine has sex with another man after she and the hero have been intimate! This has been a fairly controversial point among your RBL fans. Do you ever receive comments from readers or reviewers about this, and, if so, what are they and what is your reaction?

Susan: It�s just part of real life. If it�s controversial, I�m not aware of it. I suppose it depends on the story - what�s happening, the time frame, the state of their relationship. I don�t seriously ponder the ramifications. If it happens, it happens.

J/L: In TO PLEASE A LADY, the hero, Robbie Carre, was very young - a teenager, we believe - and much younger than the heroine. What was your thinking when you wrote him that way, and what kind of feedback did you receive about it?

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Susan: In OUTLAW, I had no intention of doing more than a slightly flirtatious scene between Robbie and Roxane. But they had other things in mind and next thing you knew - it was out of my hands. I really can�t tell you how they fell in love, but they did that night before the Carres� flight from Scotland - and there I was, stuck with this really young hero. So I double checked some sources and found numerous instances of marriages between people of very disparate ages. Particularly when money was involved. Older men and younger women, of course, were entirely acceptable marriage partners and always had been. I suppose on some iconoclastic level, I was taking issue with that and tipping the scales in favor of women. And Robbie Carre was to die for. Why not let Roxane have him?

J/L: The covers of your books have followed the trends of romance book covers in general, from the earlier "clinch" covers to the current "pretty picture" covers. Our favorites are those that came in between these two - those like the covers of OUTLAW and BRAZEN, with a beautiful male form on the cover, and a "clinch" on the stepback cover. Which type of cover do you prefer and why? Do you have any control over what the covers of your books will look like? And - a question dear to the hearts of RBLs - do you have a favorite male cover model?

Susan: I told an editor years ago, probably about the time BLAZE was published: Since women buy romances, why not have a luscious man on the cover? I sent her a couple of pictures of lovely paintings of men, but it didn�t do any good. The few covers I had with men on them, I really liked. But apparently there was some negative feedback from some distributors on the reprint of SWEET LOVE, SURVIVE, so they had to drastically crop the figure. That may have been my last male cover. I suppose it�s not worth controversy to the publisher. The safe covers don�t offend anyone.

I don�t have a favorite male cover model. I think they�re all sweet.

J/L: It seems to be the accepted norm to be critical of romance novels, and to belittle them ("bodice rippers" is a term we often hear) and their readers. Yet we generally find these books to be well-written, informative, interesting, and - with their traditional "happy endings" - uplifting. What would you say to critics of the romance genre?

Susan: My classic answer to the criticism of romance has been: Why are women�s romances belittled for their happy endings and so-called formula boy meets girl, when no one takes issue with serial killer books that are being done to death, pardon the pun, and action adventure thrillers where any number of people are killed and maimed? I personally find the killing of women by serial killers (they rarely kill men) much more offensive than love and romance. I also find the thrillers' plot devices as conventional as boy meets girl. I�m not taking issue with the sameness of the plots, only asking why formula is derided in romances and accepted in books largely written by men.

But the ultimate answer to critics of the romance genre is to say, "If you don�t like them, don�t read them." Since romance accounts for 57% of all paperbacks sold, the business will do just fine without the scoffers.

J/L: Are you a "rabid reader" like the RBLs tend to be? Do you have time to read for pleasure? If so, what types of books do you read? Who are some of your favorite authors?

Susan: Yes, yes, although I have less time to read than I�d like. I still read every night, but I�m working a rather heavy schedule right now and don�t have much time to read during the day. I read everything - fiction, non-fiction, magazines (I can�t walk by a newsstand without buying a few and I already subscribe to way too many). Right now, since I�m obsessed with my garden, I�m buying gardening books like crazy. I also collect cook books and can�t pass one by, although I don�t have much time to cook anymore, either. Not that I need to cook much when I should lose ten pounds. I�m enjoying the "light and fluffy" books that have become popular of late. They�re funny and they don�t take long to read. I really like the first Brigit Jones. All her neuroses sounded so normal. I enjoy Janet Evanovich as well. Her dialogue is fabulous. My two long-time favorite authors are Georgette Heyer and Dorothy Dunnett. Their writing if flawless.

J/L: We know that this is probably an author�s least favorite question, but ... what is your favorite book among those you�ve written, and who are your favorite hero(es) and heroine(s) - and why did you choose these?

Susan: I have a few. Probably FORBIDDEN first. I adore DeVec and Daisy. But I also find Sinjin St. John hard to forget. And I like Beau and Jon Hazard Black very much. It�s really hard, though, because I�m always infatuated with all my heroes when I�m writing about them. The hero in TABOO was based on Andre Massena, and the real life Massena became almost an obsession with me. He was unbelievable - much more heroic than any author could conceive. I walked all his battlefields, went to his birthplace and his tomb, read everything I could on him.

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As for heroines, Angela is one of my more poignant characters to me because she, too, was based on a real person, the Countess of Warwick. And the countess�s life, despite her wealth, wasn�t happy. So Angela was my way of changing history. Daisy Black is special to me as well. She was so strong and determined. And I like Teo in TABOO for her complexities.

J/L: Your new book, TEMPTING, is coming out this month. It's another sizzler, with incredibly erotic love scenes, a wonderful, caring hero, and another mature, non-virginal (though innocent) heroine. Max is a promiscuous lover until he meets the heroine, Christina - and she's the exact opposite of the usual woman who attracts him - but he "moves mountains" to get her. What is it about her that attracts him so? Without giving away too much of the story, what other thoughts will you share about TEMPTING?

Susan: The heroine in TEMPTING is based on a real person - Daisy Cornwallis-West. I�d read her two volume autobiography years ago, and perceived a very different story between the lines of her careful, polite descriptions of life as the Princess of Pless. She was one of the great beauties of her day, but her marriage to a Silesian prince wasn�t fairy tale perfect. She was inspiration for the heroine in TEMPTING. The hero, Max, is entirely fictionalized. And very splendid, if I do say so myself. I hope you like them both. In answer to your question about his attraction to her, it's evidence of my philosophy on the inexplicability of love. He doesn't know why she intrigues him. He's attracted to her despite his reservations: he doesn't like innocents, he doesn't ruin women, he's never found an inexperienced woman interesting. Yet Christina inspires a degree of lust he'd prefer not feeling, and, in the beginning, he really tries to resist. I hope you enjoy the resolution of his problem.

J/L: At the end of TEMPTING, you seemed to indicate that there will be a connection about Christina's promiscuous friend, Lulu - is this your next book? What other books are in the works right now? We really love your Braddock-Black and your Russian series - are you planning any more series?

Susan: I have a book from Bantam, titled SEDUCTION IN MIND, scheduled to be published in August. The heroine, Alex Ionides, is a twice-widowed, wealthy young woman who also happens to be an accomplished artist in Victorian England. The hero, Sam Lennox, Viscount Ranelagh, has accomplishments as well, although his expertise in bed is the one most highly acclaimed by his admirers. When they come to meet, Alex thoroughly dislikes him - men of his ilk, who only amuse themselves, annoy her. Her husbands were both men of character. Sam finds her fascinating, her nude portrait at the Royal Academy show particularly piquing his interest. Do they find some common ground? Of course they do. Seduction is Viscount Ranelagh's forte.

I�m finishing up a novella for Kensington at the moment. It�s Lulu�s adventures with a Russian prince, and is scheduled for publication next spring. And then after that, I have two more books on the drawing board ... another historical from Kensington and a sexy contemporary from Bantam. I hope you find them entertaining.

And thanks to everyone who reads my stories. My characters thank you, too. Writing is the best of all possible worlds.