On this month’s #TBT portion of the blog, we’re taking a look at those scenes in the Spy Series that stretch the historical truth and exercise creative license. Let’s take a look at…
“Countess,” the commodore said, stepping off the last stair and bowing before her. “I apologize for my unkempt state,” he continued, tucking his bicorn under his arm, “Things work a bit differently here in the Mediterranean, and it’s not everyday a countess, especially a countess who is the daughter of such an esteemed captain, appears on our doorstep.”
Now that he was closer she could see that his eyes were a deep brown and crinkled at the corners when he smiled, which he did now, although the smile looked forced and rather weak. But he was making an effort to accommodate her intrusion, so she returned his smile with one of her own.
“Thank you, Commodore, for receiving me. I have need of one of your ships,” she said without preamble.
Yeah, I was thinking what you’re thinking while I wrote it, but it sounds so awesome when Kate walks in demanding a ship. But this would never happen. There are two things that allow this scene to get on its feet and a third which make it happen. First, Kate is an esteemed naval captain’s daughter. Second, she’s old friends with Commodore John Lynwood. And finally, the thing that makes the whole thing work: the War Office sent Reginald Davis to save Thatcher.
So yes, this may have never happened, but thanks to Kate’s position as a spy, it can happen here.
To celebrate this month’s #TBT theme, I’m featuring historical romances that know how to work the creative license.
Here’s a favorite (and if you haven’t read this one, I kinda hate you for being able to read it for the first time)-