This month on the #TBT portion of the blog, we’re looking at the use of creative license historically in the Spy Series. So come along as we check out…
“My lord,” she said in order to get his attention. “We cannot possibly all fit in this gentleman’s carriage. It’s merely a personal vehicle. Not one for touring.”
Pemberly shook his head.
“Then we’ll just have to set you on my lap to make room.”
His words were spoken at a level only she could hear, but if the American stranger in the roadster had only an adequate degree of vision, he would have seen the blush that rose to her cheeks and ascertained that the conversation was of a delicate nature.
“I see,” she said and allowed Viscount Pemberly to take her elbow.
In a less than graceful experience, she found herself securely nestled on the lap of Commodore John Lynwood, lately the Viscount Pemberly, and in an equally less than graceful mood, she felt all of her dignity as an agent for the War Office seep from her body. Cocooned in his sodden jacket to keep her traitorous body from revealing any more of her feminine nature than it already had, she allowed herself to rest the entire length of her body against that of a man she hardly knew.
And it wasn’t until the roadster began to move, and she could no longer bear the silence that allowed her to concentrate over much on the feel of Pemberly’s arms about her, she looked at the American on the seat beside them.
“I’m sorry,” she said, “I don’t believe I caught your name.”
The American turned to her with a wide smile, his curly blonde hair shaking beneath the rim of his hat as the roadster moved along.
“You can call me Thatcher, ma’am.”
This scene is a little different than the rest we have looked at this month in that historically, it could very well have happened. The thing that makes it a little stretchy in plausibility is found in its outrageous-ness. This scene was written with the sole purpose of making Lady Margaret Folton uncomfortable. I thought what better way to do this than to force an awkward, uncomfortably close position with Jack. To do this, I had our rescuer (Matthew Thatcher) appear in a roadster, a vehicle that was mostly used to transport one person maybe two. You can see how things would get awkward very quickly.
In celebration of this month’s #TBT theme, I’m featuring historical romances that know how to rock the creative license.
Here’s a favorite (and possibly my favoritest romance novel of all time)-