We are thrilled to welcome the incomparable MARY JO PUTNEY to the jungle today! 
Mary Jo Putney is the multi-published author of more than twenty-nine romances in several genres. The first time I ever heard of her was probably 18 years ago when I saw an article in the Baltimore Sun about a local author who was writing traditional Regency romances. That article led me to attend my first RWA meeting…and I was star-struck to meet Mary Jo herself.
She didn’t stay in traditional Regencies for long. Mary Jo went on to write long historicals full of depth and substance, suspenseful contemporaries, and wildly imaginative paranormals full of charm and magic. A two-time RWA RITA Award winner, she has also made all of the national bestseller lists including the New York Times, Wall Street Journal, USAToday, and Publishers Weekly.
On a personal note…Mary Jo is just an incredibly gifted, kind and generous woman whose witty words of advice and wisdom have inspired countless other writers. Including me. And we are all just thrilled to have her here.
PS: To shake things up a little for Mary Jo’s visit, I developed some “interview” type questions for her…things I have long wanted to know, and things I thought our visitors to the jungle would like to know, too. Mary Jo will be popping in all day, so feel free to ask additional comments, share your feelings about MJP’s books or just shout out hello!
Also…Mary Jo will be giving away an autographed copy of THE MARRIAGE SPELL! A random winner will be drawn from among all commenters today.
Now, please welcome…MARY JO PUTNEY! 


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Hi, there, Plot Monkeys!
I’m known most of the various Monkeys for years. For example, Leslie and I are probably the only romance writers in the business whose Main Men are industrial hygienists. (This is a specialist area of health and safety that obviously attracts very high quality people!)
I first became aware of the Plot Monkeys group blog at last year’s RWA conference in Atlanta. One of the pleasures of such conferences is running into people you know—and if you’re a career writer, who has been publishing books regularly for years, you tend to know a lot of other writers.
Anyhow, I was a member of www.wordwenches.com a new blog of historical writers, and fellow Wench Pat Rice and I ran into a gaggle of Monkeys in the conference bookroom on that fateful day. The Plot Monkeys were very generous in sharing their experience and expertise about group blogging, for which we Wenches were very grateful. One of the really lovely things about being a romance writer is how genuinely nice and helpful most of our sisters writers are. And now on to our Q&A!
LK: You got your start in romance fiction by writing “traditional” Regency romances, among them RWA RITA Award winner THE RAKE AND THE REFORMER. And you are one of the few authors who then took some of your original traditional Regencies and lengthened them into long historical romances. Whose idea was that…and was the experiment a success?
MJP: Revising the traditional Regencies was pretty much my idea. My publisher wanted to reissue anything that might make them some more money. I didn’t mind that since I’d make money too, but there are differences in voice and sensuality between traditional Regency and Regency historical. For me, it wasn’t so much the plot—my books have usually had a fair amount of adventure, even the early Regencies. But I didn’t want my historical readers to be disappointed by those early books, so I asked my editor if I could do some rewriting.
She was fine with that, so I was off. A lot of what I did was tightening my leisurely Regency prose, and also narrowing the points of view. In traditional Regency, you can jump all over in pov—even the butler and the cat, which I’ve done. With historical romance, restricting the point of view to two or three characters deepens the emotion. I learned a lot with those rewrites! In some books, I expanded the stories a bit where I thought it would enhance the book. These revised versions sold well and people seemed to like them, so yes, they were a success.
There are two ironies here. One is that when I revised The Rake and the Reformer, I a didn’t lengthen it—the revised version, The Rake, is actually 4K words shorter because of tightening the prose. The other is that I didn’t revise my very first book, The Diabolical Baron, because it felt too inherently Regency to make a good historical. (The only one of my Regencies I felt that way about.) Yet it’s been reissued at least three times, under different covers, most recently this past January along with a novella in a compendium called Dangerous to Know.
The story always sells well, and even though I knew nothing about writing then, there are still people for whom The Diabolical Baron is their favorite of my books. I think the excitement of learning to write makes our early books glow. We learn more about writing over time, our work gets technically better, but maybe we lose something along the way. But that’s a topic for another day.
LK: Your Bride trilogy featured what I think were your most unusual heroines–one didn’t speak, another was a martial arts expert in disguise as a man, the third an English slave in the East Indies who has to be “saved” by the hero in an extremely controversial, humiliating public sex scene. How did your readers react to this departure from the more typical MJP historical heroine you’d done before that point? Did researching this trilogy–with its worldwide settings–differ from your other Regency historicals?
MJP: Romance readers are very polite—if any of them hated my Bride book heroines, they didn’t say so to my face. The most popular of the heroines was probably “mad Meriel” of The Wild Child.
She had been so traumatized as a child that she didn’t speak, didn’t interact, and was generally considered crazy. Why should she speak? She was a great heiress and she had everything she wanted on her family estate. Until the hero came along and danger threatened and she had to change or else….
As for the other two heroines—Troth in The China Bride was Scottish and Chinese, raised in a Chinese compound and used as a translator after her parents died. I’ve always been intrigued by mixed-blood characters because it’s such a powerful metaphor for the outsider part in all of us. Plus, in our contemporary world, there are more and more mixed marriages, so it’s a good theme to explore. (The book I’m working on now has a mixed race hero.) 
Researching the exotic settings was definite a chore, but for some reason, I’ve always been fascinated by the vast, mysterious spaces of Asia. In the 19th century, East and West were discovering each other, which provides lots of great plot possibilities. The Bride Trilogy is actually my second trilogy with Asian settings, and I’ve been moving steadily east. Silk and Secrets was based on a real rescue mission to Bokhara, Veils of Silk was set in India, The China Bride was China and Britain, and The Bartered Bride was the East Indies and Britain. Not everyone likes the exotic settings—but those who like them really like them!
LK: Speaking of controversy…let’s talk about your contemporaries. The first, THE BURNING POINT, raised a lot of sparks, yet it addressed a very basic issue about whether people truly can learn from their behavior and change who they are. What was the final verdict on this book, after all the smoke cleared, from your loyal readers? Do you regret making the choice to delve into that subject (abuse)?
MJP: Ah, The Burning Point! Yes, I got flamed on the internet for that one, but no, I’m not sorry I wrote it. So many domestic abuse stories are black and white, while life is full of grays. I wanted to write a book where the abuser was basically a good guy who’d had a hard life and did some bad things, but who had the capacity to change. Because of the specific circumstances of his life, plus his commitment to change, he did manage to grow beyond the mistakes he made. Rebuilding trust with a partner who has been wronged is perhaps even harder than changing oneself. But romance is an essentially optimistic genre, so my characters succeed. Just as some people do in real life.
The Burning Point is in some ways a primer on domestic violence, and how it can creep up. It isn’t like people appear with a big red A for Abuser on their foreheads. Change in a relationship can be insidious. Not every day is a bad day, so situations can get really bad, like the frog in a pot of water that is gradually heated up. You just don’t notice until things have really deteriorated.
Was it worth writing a book that was so edgy? Well, after it came out I got an e-mail from a woman that basically said, “I read your book, realized it wasn’t all my fault, and I left him.” If that story helped just one woman escape an abusive relationship, it was worth the flames. And a lot of readers loved the contemporaries, though all are edgy.
LK: You’ve also dipped your pen into fantasy/paranormals. Do you find writing those to be more like writing your historicals, or your contemporaries? Or is it something altogether different?
MJP: While I think my contemporaries are good books, writing them made me I realize that at heart, I was much more of a historical writer. The historical paranormals were quite a different matter. I’m a life long reader of science fiction and fantasy, and I found that braiding fantasy elements together with history and romance was a perfect fit. When I was writing the Bride books, I really felt in danger of burning out on historical romance—I mean, The China Bride starts with the hero dead and The Bartered Bride started with the heroine dead. How desperate is that?!!! (Trust me, they’re romances with happy endings. Really.) (Note from LK: Yes, they are. Though I was a little worried at the start of The Bartered Bride…I mean, the hero was in prison for killing the heroine!)
That fear of burning out and writing books that might be sub par is what drove me to try new kinds of stories. I particularly loved the fantasy books, but after four of them, I’m changing publishers and going back to straight historical romance, since that’s what the editors wanted. And I’m fine with that—after wandering in different pastures for a while, I feel like I’m coming home.
LK: Your paranormal novel THE MARRIAGE SPELL, which the Library Journal named one of the top five historical romances of 2006 and was an All About Romance “Desert Island Keeper” is now available in paperback. How did you come up with the idea to develop a Regency England in which magic and sorcery are acknowledged (though disparaged) abilities?
MJP: I’d been having fantasy romance ideas for years, starting with the unicorn and maiden idea that evolved into Stolen Magic. I had another idea which could be connected and was set in the Scottish Rising of 1745, so that made Georgian settings logical. The period is wilder and woollier than the Regency, so that worked well. My third book in the Guardian series, A Distant Magic, will be out in mid-July. All three of these books had strong history behind them, and the series was moved to Del Rey, Ballantine’s sff imprint. When it was time to do a new proposal for Ballantine, I still wanted paranormal, but different from the Guardians.
So I decided return to the Regency, always my favorite period, and instead of having magic be secret, I made it an accepted part of the world. My best stroke was to have the upper classes consider magic to be really, really tacky. This whole alternative Regency world, where aristocratic little boys are sent to a school to have magic beaten out of them if they show too much interest, stemmed from that premise.
My hero, Jack Langdon, was such a little boy. But when he is mortally wounded in a hunting accident, the only one who might save him is a wizard’s daughter who is a powerful healer—and who has always fancied Jack from a distance. After that, Things Happen.
The book was great fun. I didn’t know it was a Desert Island Keeper, so thanks for letting me know!. The book is also an RWA RITA finalist, which proves that there is room in the market for a marriage of convenience historical. With magic. If you want to see a mini-teaser of The Marriage Spell, you can go to my site, www.maryjoputney.com The teaser is on the home page and will open automatically.
LK: Your next entry into your Guardian series comes out next month. What is A DISTANT MAGIC about?
MJP: The heroine, Jean Macrae, was a secondary character in my first two Guardian novels. In Marseilles for a wedding, she is kidnapped by Nikolai Gregorio, a piratical sea captain with a serious vendetta against her family and a passionate hatred of slavery. They manage to come to terms with each other and their erratic magical gifts, and together they swear to fight slavery any way they can. Then Adia, a West African sorceress and former slave, appears to enlist them as protectors of the fledgling abolition movement. It’s a combination of romance, history, and fantasy—and was really complicated to write!
LK: You’ve written in so many different forms–short historicals, long historicals, contemporaries, novellas, non-fiction articles, paranormals. Where does your true writing heart lie?
MJP: My true writing heart lies in romance first, historicals second. I love writing about wounded people who become whole and find lasting love. I adore happy endings. All the rest is just icing on the cake.
LK: Any advice for other writers out there struggling to make it in this crazy business?
MJP: To survive, you have to love telling stories more than you hate the craziness. And the single most important trait for building a lasting career is persistence. Tenacity doesn’t guarantee success, but quitting guarantees failure.
Not that I think writing is the best and only path! There is much to be said for having a real life, and maybe even a living income. But if the writing compulsion is strong (and it is a compulsion), hang in there! I have a friend who hadn’t sold a book in something like five years, ever since her publisher stopped doing the kind of book she wrote. She kept writing, tried new things, sold a few short pieces—and she has just gotten a two book offer from a major publisher. Persistence counts.
I didn’t actually come here to promote someone else’s books, but since the subject has come up—the best writing about the writer’s life that I’ve ever come across is the Comely Curmudgeon columns that my friend Laura Resnick wrote for the Novelists, Inc. newsletter for several years. Laura is smart, funny, and occasionally crazed, and her collected columns are being published at the end of June in a collection entitled Rejection, Romance, and Royalties. If you want to know about the writer’s life, or if you want a good laugh, look for the book. (For excerpts, go to http://lauraresnick.com/ and click on the RRR cover.)
Thanks for having me here, guys! And if you readers have any questions—ask away!
Mary Jo Putney