A Traitor in Whitehall is out now!

At long last, the first book in my brand-new mystery series A Traitor in Whitehall is now out in bookstores and online!



In it you’ll meet my amateur sleuth Evelyne Redfern, a detective fiction obsessed girl about town with a notorious family past. When she’s recruited by a family friend to be his eyes and ears in the typing pool of Prime Minister Winston Churchill’s cabinet war rooms, she’s not entirely sure what she’s meant to be looking for. That is until she stumbles across a dead body, a murder investigation, and a race against time to uncover a dangerous mole.



This book was truly many years in the making, and I’m thrilled to be sharing it with you now!



A Traitor in Whitehall is available to buy at all major retailers.

Amazon - Barnes & Noble - Bookshop.org

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Google - Audible - Kobo


What I’m Planning to Read This Spring and Summer

Before I was a writer, I was a reader. And being a reader, I love recommendations. 

Whenever things become busy, I always find that I struggle to read for fun. That’s why I’m excited that things are starting to calm down after The Lost English Girl’s big release in March because there are so many books coming out this spring and summer! Here are a few titles I have my eye on:

If you want more book recommendations, go ahead and follow me on Goodreads where I always share my current reads!

The music of The Lost English Girl

I love music, but as a rule I’m not an author who needs music to write. However, when I decided that Joshua, the male protagonist of my book The Lost English Girl, was going to be a Jazz musician, I knew that I had a great chance to feature some fantastic songs in the book.
Here’s a playlist with every song name-checked in The Lost English Girl:

There are some anachronisms here when it comes to which recording I chose. Some are sentimental favorites—my love of Jazz comes from my dad—some are due to the limitations of what was available to link on Spotify. However, all are great, and I hope you enjoy listening to them—perhaps as you read along to The Lost English Girl!

If you haven’t read The Lost English Girl yet, you can purchase your copy from all fine book retailers including:

Amazon | Bookshop | Barnes & Noble

Kobo | Apple Books | Google Play | Audible | Libro.FM

If you have read the book, please consider reviewing the book on Goodreads or your favorite retailer.

What to Read After You’ve Read The Lost English Girl

One of the questions I often get from readers is, “Where can I learn more about the topics you write about?” 

(All of the following books mentioned are linked in a carousel below.)

In my Author’s Note for The Lost English Girl, I mentioned When the Children Came Home by Juliet Summers, which weaves firsthand accounts of children and parents separated by Operation Pied Piper (the mass evacuation of children and other vulnerable people from urban areas of Britain deemed at high-risk of bombings if a war broke out). The book is incredible, with lots of detail about how varied people’s experiences could be during evacuation as well as upon their homecoming.

I also leaned heavily on Patrick Bishop’s Air Force Blue: The RAF in World War 2 while writing Joshua’s storylines. The book is very readable and fascinating if you have any interest in the Royal Air Force. 

While the Author’s Note is always a good place to look for books, there are often too many books to choose from when it comes to resources. Here are some other places you might turn if you want to read more about life in Liverpool, the Operation Pied Piper evacuations, or more:

Goodbye East End: An Evacuee’s Story by David Merron

Women in the Second World War by Neil R. Storey & Molly Housego

Liverpool’s Children in the Second World War by Pamela Russell

A 1940s Childhood: From Bomb Sites to Children’s Hour by James Marsh

Evacuee: From the Liverpool Blitz to Wales by Barbara Warlow Davies

Wartime Childhood by Mike Brown

And finally, if you want more fictionalized accounts of Operation Pied Piper and the stories of evacuated children during the war, you’re in luck because two incredibly talented historical fiction authors have books on the subject coming out soon! The Secret Book of Flora Lea by Patti Callahan Henry comes out May 2, 2023 in the United States and The Last Lifeboat by Hazel Gaynor comes out June 13, 2023. (Both are US release dates.)

If you haven’t read The Lost English Girl yet, you can purchase your copy from all fine book retailers including:

Amazon | Bookshop | Barnes & Noble

Kobo | Apple Books | Google Play | Audible | Libro.FM

If you have read the book, please consider reviewing the book on Goodreads or your favorite retailer.

Happy reading!

The Joy—and Challenge—of Writing a Novel Inspired by Family Stories

There’s an old adage that writers enjoy pulling out from time to time: “Be nice to me or you’ll end up in my novel.”

Although I’ve never been one to torment my enemies—not that I have any—in the pages of my books, I have from time to time dipped into family lore for inspiration. And never has this been more evident with my recent novel The Lost English Girl

The seed for the novel, which starts in 1934 and stretches until 1945, came from an old family story. The tale goes that my mother’s aunt fell pregnant out of wedlock. That alone would have raised eyebrows in their Catholic, working-class Liverpudlian community, but the story was even more complicated because the father of her unborn child was not Catholic. He was Jewish. 

The young couple was either strongly encouraged or—more likely—forced by their families to marry in order to legitimize the coming child. However, instead of living as a family, the couple was separated on their wedding day because they were of different faiths. Legend goes that my mother’s aunt raised the child—a boy—at home with her mother. She never saw her husband again. 

How did my mother’s aunt feel about marrying and immediately being separated from her husband? How did her husband feel about not meeting his son? Were they in love or was the child the result of a fling? Who ultimately made the decision to force apart these two young people, and did the couple have any say in the matter? We don’t know any of the answers to those questions, and anyone who might have answered them has been gone for a long time. 
This is where, as a novelist, I come in. I believe that writers often feel compelled to fill in gaps, to provide context, to imagine why something is and what could have been. I wanted to answer some of those questions for myself.

The Lost English Girl is not biographical or in any way the story of my mother’s aunt. It is a work of fiction, especially when it comes to everything that happens after the first two chapters. However, there is truth in some of the roots of the story. I wanted to try to be respectful of the people who inspired the story. 

It was a unique challenge to try to take what little we knew about my mother’s aunt and try to breathe life into my character, Viv, who finds herself in the same situation at the start of the book. Even more of a challenge was creating the other half of that couple, The Lost English Girl’s Joshua. If we knew only a little about my mother’s aunt, we knew even less about her estranged husband and how he felt about their marriage and their child. Joshua goes through an incredible amount of growth over the course of the book, and I hope that readers will come to empathize with him and his story as deeply as I have.

I believe authors—especially historical novelists—offer a view into someone else’s life. They create worlds and characters that readers have never experienced before but that those same readers can connect with. One way that we do that is through looking to the truth in order to tell stories that feel lived-in and undeniably grounded in reality.


Thank you for welcoming The Lost English Girl!

What a week! Thank you so much for helping me welcome my latest historical novel The Lost English Girl into the world! 

If you’ve read the book, the single biggest thing you can do to help support my work is by recommending it to a friend or a book club. Publishing is still a big word-of-mouth business, and personal recommendations from people you trust are invaluable for authors as well as your fellow readers.

The other big thing you can do is review The Lost English Girl. You can do that on Goodreads or on your favorite retailer. To make it a little easier for you, here are some handy links to the book’s page on different retailers:

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You can also help spread the word on social media! Use the hashtag #TheLostEnglishGirl or tag me in one of your posts.

And don’t forget, you can follow along with The Lost English Girl’s book tour! A full list of dates is available on my website.

Join the Book Tour


Countdown to The Lost English Girl: Easter Eggs

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

The Lost English Girl is full of Easter eggs.

I’ve written before about how every author puts a little bit of themselves into their books. Sometimes that is accidental, but for me there are absolutely things that I thread through my books as sort of “Easter eggs” for close friends and family or—in a few cases—readers. 

Here are a few examples of Easter eggs that made their way into The Lost English Girl: 

I wrote about locations that have a tie to my own personal history family. My mother’s side of the family is from Liverpool, so it’s no surprise that a book set in her hometown is rife with references to the city and (some of) my family’s personal history including Walton, Lime Street Station, and Formby Beach. I also mentioned Fallowfield in Manchester, where I lived as a study abroad student, and Pwllheli in North Wales and Totnes in Devon, both of which are places I’ve been on holiday. 

Several of my favorite Jazz standards appear in the book. A few days ago I wrote about my love for Jazz music and how music became an integral part of my character Joshua’s story. A few of the songs that I grew up listening to are namechecked in the book like “Body and Soul,” “Wacky Dust,” “Strange Fruit,” and one of my personal favorites “St. Louis Blues.”

The Manhattan scenes are all influenced by my time in New York. I spent about nine years living and working in New York City, and it is one of my favorite places. No big surprise that little bits of my love of Manhattan made it into the book. Although Swing Street (52nd Street) is no longer a mainstay of Jazz clubs, I drew on some of my favorite nights out at Terra Blues, Smalls, and the Village Vanguard while writing about Joshua’s nights in the clubs. He teaches students at Columbia University, where I did my masters. There are even references to the awful stickiness of summer subway rides and the incredible relief of a summer rainstorm in Manhattan.

Some character names are drawn directly from two of my favorite classic movies. Choosing a favorite movie is like choosing a favorite book: impossible. However, if pressed, I’d have to say that Otto Preminger’s 1944 movie Laura is one of my favorites. That’s why, if you’re a fan of the film, you might recognize some familiar names—McPherson, Hunt, and Shelby—when reading about Joshus’s time in the RAF. 

I wrote quite a bit of The Lost English Girl sitting at my now-fiancé’s dining room table before we lived together. On the wall was a huge movie poster of It’s a Wonderful Life, which now hangs in our living room. Don’t be surprised then that some of the character names in The Lost English Girl bear a striking resemblance to some of that movie’s supporting cast…

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Countdown to The Lost English Girl: Why it really does take a village to publish a novel

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

Why it really does take a village to publish a book.

Writing can be a lonely pursuit. I don’t have co-workers (unless you count the neighbor’s cat who sometimes sits on my study’s window ledge and meows at me). When I’m drafting a book, I’m doing work that quite literally cannot be done by anyone else. I’m essentially a small business of one. 

However, one of the things that’s undeniable about publishing is that it’s impossible to publish a book with a New York publisher alone. And thank goodness for that!

The Lost English Girl was a wonderful reminder that even if the day-to-day process of being an author is very solitary, the overall process of publishing a book is not. When I finished the first draft, I knew two things with utter certainty:

  1. Coming in at over 150,000 words, it was too long and filled with story bloat.

  2. I did not know what to cut.

Fortunately, I have the benefit of working with a fantastic editor in Hannah Braaten. The combination of her notes and me taking a step back from the narrative for a few months meant that when it came time to edit the book, I knew what I had to do. The second and third acts of the book weren’t working, so we agreed that I would scrap them and start again. I also cut B-plots right and left, dramatically slimming down the narrative to focus more tightly on the story. As much work as that was, the book is infinitely better for both of those changes. 

However, the collaborative work didn’t stop there. I’m often asked about how I choose the titles and covers of my books, and the truth is that I often don’t. I will have a working title, but everyone from editorial to marketing to sales gets a crack and making sure that it’s the best title for the market, which means what I suggest often (always?) changes. In this case, the book went from being called Return to Me, My Love—a reference to a storyline involving a song lyric that I later cut—to The Lost English Girl. (The Lost English Girl is undeniably better if only because it focuses on the main story which is the separation and possibly reunification of a family during World War 2.) 

When it comes to covers…well, let’s just say that I stay well out of the art department’s way because they knock it out of the park every single time.

Then there are all of the behind-the-scenes elements that readers never see from the production team who turns a Word document into a fully type-set, copy edited, and proofread book; to the sales team who works with booksellers accounts; to operations who deals with distribution; to publicity and marketing that works to get the books into the hands of my readers. All of these people are integral to making sure that a book like The Lost English Girl makes it to the printers and onto physical and digital bookstore shelves.

All of this work—and all of these people—are why you will often see me thanking not just my agent, editor, and publisher in the Acknowledgements at the back of my books. These people are the unsung heroes of the publishing world, and I always want to do my best to make sure they’re properly thanked for all of their hard work.

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Countdown to The Lost English Girl: Love & Jazz

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

The Lost English Girl has many nods to my love of Jazz.

No matter whether it’s conscious or not, every author puts a little bit of themselves into their books. It might manifest through characters bearing similar traits to people in their lives, or perhaps a setting that they’ve long been fascinated with. 

So many little bits of myself are sprinkled through The Lost English Girl, but one of the very obvious ones is my love of Jazz. 

Growing up, there was always music playing in the house, and often Dad would put on one of our many Billie Holiday albums, Take Five by the Dave Brubreck Quartet, or Stan Getz and Joāo Gilberto’s Getz/Gilberto. When I went off to college, I sought out my university’s swing dancing society and learned how to dance to some of the incredible music I’d always loved. Even now, my record collection is mostly albums from Jazz and Blues greats, although my fiancé is slowly helping me make sure our mutual love of rock and soul is represented. 

When I was sitting down to write the character of Joshua Levinson, an ambitious young man who dreams of leaving Liverpool to do something more with his life, I knew that there was only really one profession for him: musician. I made Joshua into a saxophone player, working as a gigging musician for dance bands playing in Liverpool’s famous ballroom scene. His dream is to go to New York and develop his career so that he can one day become a band leader in his own right. 

However, life doesn’t always work out the way we plan, as Joshua finds out. When the book opens in 1939, he’s working as a fill-in for the many bands on Manhattan’s Swing Street (52nd Street).

Swing Street held some of the most famous clubs of the 1930s, ‘40s, and ‘50s like the 21 Club, the Famous Door, Jimmy Ryan’s, and Kelly’s Stable. Virtually every significant musician of Jazz’s golden era played a stand at one of these clubs, with some of them serving as the leaders of or players in house bands. If you were an audience member at one of these clubs, you might have heard early premiers of songs that are now Jazz standards like “Body and Soul.”

I also couldn’t resist the urge to reference a little bit more of New York Jazz history in mentioning one of the most famous performances of the twentieth century. In one scene, Joshua relates to his sister the story of seeing Billie Holiday’s legendary performance of “Strange Fruit” at Café Society in Greenwich Village. Famously, the wait staff would stop serving. The lights would dim until only a spotlight shone on Holiday’s face. She would sing the song with her eyes closed. There would be no encore. 

I have always wished that I could have been an audience member at Café Society to see the great Billie Holiday sing her signature song. Perhaps second best is mining history for details and threading through those details related to my own interests in order to create a richer, more full story for readers.

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Countdown to The Lost English Girl: Finding New Routines

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

The Lost English Girl was my first book written as a full-time author.

It’s a common misconception that all published authors write full-time. The reality is that most of us, at one point or another, have held a day job that allows us to write during little snatched bits of time: before or after work, on lunch breaks, on the weekends. 

That is what I did for about ten years—first as a journalist and then as the editorial director for a tech company’s content team—before I was fortunate enough to quit my day job for good in June 2021. 

On the advice of a good friend and fellow author who had left a very busy job as an attorney, I took a month off between leaving my day job and my first day as a full-time author. I read, cleaned my flat, gardened, went on holiday, saw friends and family—anything that would break all of the habits I’d gained from ten years of working and writing around the clock. Then, on my first day of full-time authorhood, I opened my laptop and began to write The Lost English Girl.

The Lost English Girl is my twelfth novel (my fifth historical fiction book). You might expect, as I did, that after writing twelve books I would have some sense of how to do this. Some level of expertise. Nevermind that every single time I sit down to write a new book, I wonder how on earth I’ve done this. 

In the case of this book, I soon realized that I wasn’t just dealing with a case of first page jitters. I was, quite simply, stuck. I’d done this writing thing before, sure, but never when it was my only thing. All of the logistics that I relied upon to make sure that I sat down and wrote a book a year while I was working a day job were reliant on just that: a day job. 

When you only have ninety minutes a working day and a few hours on the weekend to write, you become very adept at blocking everything out and focusing on making the most of your time. I took away all of the time pressure of working a day job, and I found myself staring down at eight or nine uninterrupted hours in which I could write. Having an open day was far more jarring to my writing than I expected because there was no pressure on me to get the job done. I would sit down to write, but then a bit of marketing or a bit of admin would distract me and then, the next thing I knew, my partner would be telling me that he was about to start making dinner. I was losing valuable time because, strangely, I had too much time.

I quickly realized that I needed to recreate what my day job had inadvertently given me: structure and a routine.

The Lost English Girl began to flourish (and my word count began to grow) when I went back to basics that I could recreate from my ten years of experience. In the past, I’ve found these four things the most useful when I’m trying to consistently get words on the page:

  1. Having a hard deadline that I could not miss. (Old journalist habits die hard.) For me, this was the Friday before Christmas.

  2. Having a consistent daily word count that must not be missed. For The Lost English Girl, that looked like about 3,000 words per day because I was playing catchup after flailing around for about a month.

  3. Working to a rough overall book outline but then taking fifteen minutes to sketch out a more detailed outline for the next three scenes I’m working on so that I don’t have to stop a good flow and make up what’s going to happen next.

  4. Writing first thing in the morning until I hit my word count. If that took me two hours, I wrote for two hours that day and used the rest of the day for marketing or admin. If it took me eight hours of grinding out a particularly tricky transitional scene? So be it.

This basic set of rules and routine helped me write the 150,000 word first draft of The Lost English Girl. Not all of those words were good. I ended up cutting a lot—the finished book is about 114,000 words—but it helped me create the working routine that I’ve kept since quitting my day job.

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Countdown to The Lost English Girl: Legendary Ballrooms

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

The Lost English Girl features one of Liverpool’s legendary ballrooms.

Somewhere, with someone in my family, there exists a photograph of several of my aunts and uncles and their friends at a ballroom. It’s the 1950s, and the girls are all sitting on the stage, their voluminous circle skirts billowing out around them, and their suited dates standing at attention next to them. They are all perfectly coiffed and nostalgically beautiful.

I’ve always loved this photograph just as much as I loved hearing the family stories of getting dressed up and begging bus fare off of each other so that they could go dancing. In this era, Liverpool’s legendary ballrooms were the place to go, be seen, and dance long into the night. 

While writing The Lost English Girl, I wanted to incorporate something of Liverpool’s ballroom history into the narrative. Although I was writing a book that spans 1934 to 1945, the city’s ballroom culture was very much alive and well, and I chose to set the first meeting between Viv and Joshua, my main characters, in the Locarno, a real ballroom that is now known as the Liverpool Olympia. 

In “Let’s Go Dancing:” Dance Band Memories of 1930s Liverpool, Trisha Jenkins writes about the Grafton (built next to the Locarno), the Rialto, and the State Ballroom, which were all grand ballrooms in operation during that era. 

To choose your dance and your ballroom, you might pick up the Liverpool Echo on a Wednesday to read the column “Dancing on Merseyside,” written by Quickstep,” which listed the upcoming week’s bands and dances. Saturdays were the popular day to dance, although Fridays also drew a crowd. If you weren’t old enough to attend an evening dance, you might go to a tea dance instead. 

Once you choose your venue, date, and time, there was the question of paying. Admission to the Rialto at the time was between one shilling and one and six during a time when the average working man’s wage was between two and three pounds a week. The Grafton, which had capacity for 1,600 people, charged two shillings for a Saturday evening dance. 

Once you were through the door, you could expect to see men in suits and women in dresses—the band usually were the ones in evening wear unless it was Friday night at the Rialto when everyone in attendance would be dressed to the nines.

Jenkins writes that one woman remembers, “There was a shop at the top of London Road where the ‘well to do’ used to put the clothes, dresses, coats, and underclothes. You mention it, we all used to go there. I bought a coat there, one of those with a tail on. There was all sorts of lovely frocks—beautiful material. You used to get a frock for a few shillings, take it home, wash it if it had gone a bit under the arm say, you’d fix it up. Well I bought this beautiful cream silk frock with embroidered front, with beads all over it and a full skirt.”

After you were inside, the ballroom’s MC might announce, “Take your partners,” and the band would begin to play. This being an era where people generally learned to dance at an early age as a matter of course, dancers could expect to hear the waltz, foxtrot, or tango in rotation. Jenkins writes that the rhumba and the moochi might be played but weren’t as popular. 

If you didn’t have a partner, the larger ballrooms often had a pen of professional dancers who would give you a dance if you purchased a ticket with cash.

If you were in need of the refreshment and you were lucky, the bar might be open. However, drinking was not allowed at all ballrooms, and at others the bar might only operate on certain nights or on very special occasions.

At the end of the night, depending upon the strictness of their families, you might see girls wiping their makeup off on handkerchiefs while disappearing into the night. 

If one night of dancing at one of the grand ballrooms a week wasn’t enough for you, Liverpool hosted a number of smaller venues like the Edinburgh Cafe Ballroom, the Acacia House in Shaw Street, Blair Hall on Walton Road, and Burton Chambers in Spellow Lane. However, not every ballroom had a sterling reputation. One dancer Jenkins’ interviewed recalls that Daulby Hall had a bad reputation: “There were girls up to no good there, you could tell by the way they dressed their hair”

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Countdown to The Lost English Girl: A Love for the North

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

Although I love writing about London, The Lost English Girl is set in a place close to my heart.

In 2017, I was lucky enough to be able to pack up my life in New York and move to London. The city has provided a huge amount of inspiration for me over the years, and three of my historical novels are set in London: The Light Over London, The Whispers of War, and The Last Dance of the Debutante

However, much as I love writing about London, I was thrilled to set The Lost English Girl in Liverpool, which is where the British side of my family is from. I know that many people associate Liverpool with either the Beatles or Liverpool FC, however the city has such a rich, fascinating history. It was a major port and during World War II, it was a crucial part of the British war effort. It was also heavily bombed by the Germans, leaving thousands of casualties and destroying swaths of the city including residential neighborhoods. My own grandparents’ house was destroyed during an air raid.

One of my goals in writing a book set in Liverpool was to give a sense of the unique nature of the city, from the sound of gulls to the cold wind whipping up the Mersey. I hope that The Lost English Girl will give readers a sense of another great British city I have a lot of affection for as they explore a new story from the Home Front.

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Countdown to The Lost English Girl: Stories & Legends

Every day in the week leading up to the release of my brand-new book The Lost English Girl on March 7, I’m revealing a story, fun fact, or other tidbit about the book. Follow along each day to learn more about the book!

The Lost English Girl was inspired by family stories and legends.

Growing up, one of my favorite things was when, after dinner, the adults would push back from the table, their glasses of wine still near at hand, and start telling stories. I loved listening to all of the tales—especially the ones that grew in size and exaggeration the more often they were told.

It was through these stories that I learned about both the British and American sides of my family, and it only makes sense that some of those stories have crept into the books I’ve written.

The Lost English Girl was inspired by a family story that was often told but was scant on detail. My ancestor was an unmarried Catholic woman who fell pregnant (or “got into trouble” as they might have said then) by a Jewish boy. In early twentieth-century Liverpool, the idea of an interfaith relationship was scandalous—but so was the thought of an unwed mother. The family story goes that the couple were forced to marry to legitimize the child and separated on their wedding day, never to see each other again. 

We don’t know anything about what happened to the father of the child—my mother’s cousin—just as we don’t know how he or his family felt about the marriage and child that he never saw. We don’t even really know how the woman felt about the marriage or her motherhood. All of that has been lost to time.

The Lost English Girl takes my ancestor’s story and tries to answer those questions not only for her but for the man she married and never saw again. Family legend became the inspiration for a story that spun off in completely different directions, taking on a life of its own. 

One of the great challenges of being a historical fiction author is filling in the gaps of history. We are constantly making decisions about what truth to add to our novels, what to leave out, and what to make up. Ultimately, the goal is to create a rich novel full of characters you can empathise with, even if their experiences are nothing like your own.

Want to learn more about The Lost English Girl? Check back tomorrow or follow me on Facebook, Instagram, and Twitter, and don’t forget that there is still time to preorder your copy of The Lost English Girl in print, ebook, or audiobook!

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Evacuated children & propaganda films

If you are an avid reader of historical fiction set in Britain during World War 2, it’s likely that you’ll be familiar with several events of the early war. These might be the image of families gathering around the wireless as they listened to Prime Minister Neville Chamberlain officially announce that Britain was at war with Germany, or the scream of the air raid siren just after that sent Londoners straight to air raid shelters. (This proved to be a false alarm and a poignant foreshadowing of the Blitz that would come a year later.)

One of the most sobering markers of the early war was Operation Pied Piper, which is explored in my upcoming book The Lost English Girl. Two days before Chamberlain declared war, a massive operation to move children and other vulnerable people out of Britain’s major metropolitan areas and into the perceived safety of the countryside got underway. The belief was that cities were likely to be the targets of air raids, and rural areas would likely avoid the expected bombings. (This proved to often be true, especially in places like London, Liverpool, Coventry, Glasgow, and other major manufacturing areas that saw devastating bombing during the war.)

Here a British Pathé film from 1939 shows (in the very jaunty manner of propaganda films of the era) the children boarding trains and parents—often mothers—waving them off from the station platforms.

Many children were sent with their schools, meaning many teachers were called upon to escort their classes. Some of my own aunts and uncles were sent from Liverpool to North Wales. People in these more rural communities then came forward to house children. Some children loved their experience in the countryside which must have felt so foreign to them; others were miserable.

Despite the rush to evacuate children and ready Britain for war, the fierce fighting that many believed would be likely didn’t materialize in the first few months of the war. Known now as the “Phoney War,” many parents decided to bring their children back home despite government advice.

However, with the ramp up of fighting during the Battle of Britain and the heavy bombing of London and other cities during the Blitz, many children who returned home after the initial evacuation found themselves placed back on trains, destined for the countryside again.

It would be years before some children would return home permanently. Often this led to awkward or strained family relations as a child who had been ten when they were evacuated would return as a teenager of sixteen. 

Propaganda films like these ones are fascinating resources for a historical fiction author. In some ways, they give incredible texture and detail when researching a story. However, t’s vital to remember that they only one very specific side of history. They promote the moral-boosting messages that the government wants the public to believe. They don’t show the fear and heartbreak that the evacuations put families through. They don’t talk about children who never adjusted or foster families who mistreated children. 

Researching any book is a layered, nuanced practice, and that is even more true when dealing with history because of the time that has passed and the agenda of whoever is telling that history. One of the most important jobs of the historical fiction author is finding what is missing from the records, whether that is the real emotions of the people touched by major events in history or the experiences of marginalized people whose stories have yet to be told. It is when an author finds those moments and uses them to build upon that historical fiction really shines.

COMING SOON — Read Julia Kelly’s The Lost English Girl!

In just one month, The Lost English Girl will begin to show up on readers’ doorsteps, in bookstores, and on various audiobook and ebook devices. This book is incredibly special to me, and I can’t wait for it to be out in the world. 

You can still preorder the book to make sure you get your copy delivered to you on or near its March 7 release day date. To do that, all you need to do is click on one of the buttons below or search for The Lost English Girl at your favorite bookstore:


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Also, don’t forget to join me for my digital book tour. You can find links to all of the events including my special The Lost English Girl launch day event where my sister, BookToker and bookstagrammer Justine from I Should Read That, will be interviewing me. Click on the button RSVP to that event or click on the Events button for all of the listings:

I can’t wait to share this story with you!

Your First Look at A Traitor in Whitehall

After many, many months of teasing all of my poor readers, I’m incredibly proud to reveal the cover of my first historical mystery novel, A Traitor in Whitehall!

A Traitor in Whitehall is the first in the brand-new Evelyne Redfern series. The book comes out  October 3, 2023, but I have an early sneak preview of what you can expect:

Dubbed “The Parisian Orphan” by the press after her parents’ disastrous marriage spiraled into a vicious divorce and custody battle, young Evelyne Redfern was one of the most notorious children of the 1920s. However, her whole world changed after her beloved mother Genèvieve’s untimely death and her feckless adventurer father Sir Reginald Redfern’s decision to dumped her in an English boarding school. 

Years later, Evelyne is estranged from Sir Reginal and trying to make her own way in wartime London. However, her job on the line at a munitions factory is hardly challenging, leaving her longing for her stacks of mystery novels that fight for space with her actress roommate Moira’s ever-expanding wardrobe.

When Mr. Fletcher, one of her father’s old friends, spots Evelyne at a night out at the Ritz and offers her a job in the typing pool of Prime Minister Winston Churchill’s cabinet war rooms, she jumps at the opportunity for a change. However, shortly after she arrives at work, one of her fellow typistsis murdered and Evelyne must use all of her amateur sleuthing expertise earned from years of reading mysteries to find the killer. Little does she know that her investigation will put her in the path of David Poole, a cagey minister’s aide who seems determined to thwart her efforts. That is, until Evelyne learns David’s real job is rooting out a mole leaking vital government secrets to Germany, and the pair begrudgingly team up.

Can Evelyne find out who's been selling England's secrets and catch a killer all while battling her growing attraction to David and her own scandalous past?

Make sure you don’t miss out by preordering your copy of A Traitor in Whitehall wherever books are sold!

The Light Over London is getting a new look!

A forgotten diary, a forbidden love affair, a desperate fight to save her country

My first historical novel, The Light Over London, is getting an exciting new lease on life! The book, which was first published in 2019, is now out in supermarkets, airport bookstores, and many other places in a new, smaller, cheaper mass market paperback format!

If you haven’t read this bestselling book yet, now is the perfect time to pick up a copy in mass market, the bigger trade paperback, ebook, or audiobook!

If you’d like to know a little more about the book before you buy it, keep reading for more details about what you can expect when you pick up this “endearing and heartbreaking novel.”

2017 When Cara Hargreaves discovers a diary from the 1940s, its contents will change her life forever...

1941 When Louise Keene meets dashing RAF pilot, Paul Bolton, she is swept off her feet. Then Paul is sent to war and Louise, defying her mother's wishes, ends up a gunner girl in London.

Watching the pitch-black skies for bombers, Louise finds comfort recording her dreams in her diary. And as Cara reads her words, decades later, she learns that hope can be found even in the darkest of times, she just needs to take a chance…

The Last Dance of the Debutante makes its paperback debut!

Your invitation to the event of the season is waiting!

I am very happy to announce that The Last Dance of the Debutante is now available in paperback!

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When it’s announced that 1958 will be the last year debutantes are to be presented at court, thousands of eager mothers and hopeful daughters flood the palace with letters seeking the year’s most coveted invitation: a chance for their daughters to curtsey to the young Queen Elizabeth and officially come out into society.

In an effort to appease her traditional mother, aspiring university student Lily Nichols agrees to become a debutante and do the Season, a glittering and grueling string of countless balls and cocktail parties. In doing so, she befriends two very different women: the cool and aloof Leana Hartford whose apparent perfection hides a darker side and the ambitious Katherine Norman who dreams of a career once she helps her parents find their place among the elite.

But the glorious effervescence of the Season evaporates once Lily learns a devastating secret that threatens to destroy her entire family. Faced with a dark past, she’s forced to ask herself what really matters: her family legacy or her own happiness.

 

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As many of you know, I’m based in London so it’s rare that I get to see my books in stores when they come out. Instead, I rely on readers like you to let me know that they’ve spotted copies in the wild! You can help me follow along by snapping a photo of The Last Dance of the Debutante and using #TheLastDanceoftheDebutante or tagging me on social media!

Take an Early Look at The Lost English Girl [Excerpt]

In two short months, my latest historical novel The Lost English Girl hits stores, and today I’m giving you an early look at an excerpt!

Here’s what you can expect from this deeply personal, emotional book:

Liverpool, 1935: Raised in a strict Catholic family, Viv Byrne knows what’s expected of her: marry a Catholic man from her working-class neighborhood and have his children. However, when she finds herself pregnant after a fling with Joshua Levinson, a Jewish man with dreams of becoming a famous Jazz musician, Viv knows that a swift wedding is the only answer. Her only solace is that marrying Joshua will mean escaping her strict mother’s scrutiny. But when Joshua makes a life-changing choice on their wedding day, Viv is forced once again into the arms of her disapproving family.

Four years later and on the eve of World War II, Viv is faced with the impossible choice to evacuate her young daughter, Maggie, to the countryside estate of the affluent Thompson family. In New York City, Joshua gives up his failing musical career to serve in the Royal Air Force, fight for his country, and try to piece together his feelings about the family, wife, and daughter he left behind at eighteen. However, tragedy strikes when Viv learns that the countryside safe haven she sent her daughter to wasn’t immune from the horrors of war. It is only years later, with Joshua’s help, that Viv learns the secrets of their shared past and what it will take to put a family back together again.

If you like the sound of The Lost English Girl, don’t forget to put your preorder in for the print, audiobook, or ebook editions! 

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Viv

January 16, 1935

On the morning of her wedding, Viv Byrne cried.

It should have been simple. All she had to do was keep her head down, walk into the registry office, and say the words that would make her Mrs. Joshua Levinson. Then everything would be okay, just like Joshua promised.

However, sitting in her pearl-gray dress, none of it felt that simple. Her bedroom door opened, and she met her sister’s eyes in the mirror. “Are you all right?” Kate asked.

Viv let her gaze shift to her own reflection. She hardly recognized the eighteen-year-old woman staring back at her with tear tracks streaking down red cheeks. She’d never thought of herself as particularly pretty— not like Kate, whose bright smile could illuminate half of Liverpool—but now she felt puffy, dowdy, and tired. Slow tears began to trickle down her face again.

“Oh, Vivie,” Kate sighed, closing the door behind her. “Don’t cry. Re- member, this is a good thing.”

Viv nodded, miserable. Yes, this wedding was a good thing—one she wanted—but it wasn’t exactly as though she had a choice.

Kate placed her hand on Viv’s shoulder. “Just think, soon you’ll have your own home. You’ll be able to decide who you do your shopping with. You’ll be able to choose your laundry day.” Her sister leaned in, a mischievous smile on her face. “You’ll be able to play the wireless whenever you like.”

Viv gave a watery laugh.

“That’s my Vivie,” murmured Kate. “Now, let’s put your hat on.”

Her sister brushed Viv’s thick, light brown curls and then carefully placed the little gray hat on the crown of her head and pinned it into place.

“There,” Kate announced. “You look perfect.” “I don’t feel perfect.”

Kate clucked her tongue. “Have you been ill?” Viv shook her head.

“Lucky you. I was sick as a dog with Colin and William,” said Kate.

“But not Cora,” said Viv, as her sister fished around in her good black leather bag and pulled out a tube of lipstick.

Kate applied red to her Cupid’s bow. “Well, Cora’s always been a doll.” Viv couldn’t help but smile at the thought of her golden-haired niece. “Maybe I’ll start wearing lipstick when I’m married,” she said.

Kate capped the tube with a grin. “That’s the spirit. Just make it through today, and you’ll be free of Mum’s rules.”

No matter how much her mother disapproved of this wedding, Edith Byrne wouldn’t be able to control a married daughter no longer living under her roof.

“Are you hoping for a boy or a girl?” Kate asked.

Viv, who had stood to begin collecting her things, froze with one arm in her navy coat.

“Vivie . . . ?”

Finally, she whispered, “No one’s asked me that.”

Kate’s lips twisted. “We’ve all made this awful for you, haven’t we?” “Mum and Dad were never going to approve. Mum especially.” Growing up, theirs had been a house of rules. Go to church. Only speak to the people Mum approved of. Never do anything “common.” Viv had always struggled to follow the rules to the T. She went to church every Sunday, but rarely did a service go by without Mum jabbing her in the side to stop her from daydreaming. Viv had started to work at sixteen, but not as a nurse as Kate had done but rather in a postal office, where Viv might meet any manner of girl. She was getting married, but only because she’d fallen pregnant.

“Mum and Dad will soften as soon as they have another grandchild.” Kate hugged her. “You’re going to make a wonderful mother.”

“Thank you,” she whispered into her sister’s neck.

“Now, are you ready?” Kate asked.

Viv looked around the childhood bedroom the sisters had shared until

Kate married. Never again would it be home. She and Joshua would live in the flat above his family’s shop, just as soon as the tenants left. She would need to find a new greengrocer, butcher, and baker to do all of her shopping. She wondered whether Joshua would want to keep kosher as his parents did.

Panic clawed at her throat. She should know a detail like that, but she hadn’t even met her future in-laws.

“Whatever it is you’re thinking, stop it,” said Kate, taking on a firmer tone than she had with Viv all day. “It won’t do you any good.”

“You’re right. You’re right.” She lifted her chin and, with a confidence she did not feel, said, “I’m ready.”

The sisters made their way down the creaking stairs to the entryway of their parents’ house. In the lounge, which was hardly ever used, sat Dad in a somber suit, his hands braced on either knee. Mum, small and stout, perched on the edge of the floral sofa that was her pride and joy. No one wore smiles in this room.

Kate’s husband, Sam, peeled off the entryway wall and reached for his wife as soon as Kate passed. Kate leaned into him, and Viv wished that she had someone to do the same.

“Right.” Dad rose and crossed the sitting room to join them. “Best have it over and done with.”

Mum stood and straightened the hem of her charcoal suit jacket. Viv thought maybe she’d escaped her mother’s scrutiny, but Mum’s gaze fell on her stomach and then cut away. Then, sure as clockwork, Mum touched a handkerchief to her eyes.

“A daughter of mine married, and not even in white. I never thought after Flora . . .”

Viv clutched her handbag’s handle a little harder. Flora, Viv’s aunt, was the family cautionary tale. The beloved sister who fell for a Protestant man who up and left as soon as Flora told him she was pregnant, condemning her to a hard life and the family to the weight of a daughter’s shame.

“Mum, this is not the day,” Kate warned.

“Am I supposed to be happy? He’s Jewish,” said Mum with a sniff. Sam nudged Kate, prompting his wife to sigh. “Let’s just go. We’re going to be late.”

Viv wished the floor would open up and swallow her whole.

In the back seat of the car Sam had borrowed from a mate at work, Viv hunched her shoulders, doing her best to hold herself away from Mum. She’d known the rules for as long as she could remember: fornication was a sin, but if she sinned, let it be with a Catholic boy who would have the good sense to marry her or at least had a family who would force him down the aisle. Whatever it took to give Viv and their child the veneer of respectability.

In her mother’s eyes, Joshua failed on all points. Not only had he gotten her daughter into trouble, he wasn’t Catholic. He was Jewish, and to her mother, that was as bad as being a Protestant.

All through the excruciating drive from Ripon Street to St. George’s Hall in the city center, a rising scream lodged in Viv’s throat. She wanted to wrench open the car door and run fast and far. Anything to stop the shame and regret.

When Sam parked in front of the massive stone building that housed the Liverpool Register Office, Kate scrambled out and onto the pavement while Mum waited for Dad to open the door for her on the other side.

Finally alone for a moment, Viv gasped for breath. She could do this. She would walk up those steps and come out again a married woman. She wouldn’t run because there was no other option.

On the pavement, Viv looked up at the long sweep of steps to the front of St. George’s Hall. Through the misty January rain, there was no mistaking the Levinsons huddled by one of the building’s massive yellow columns. Mrs. Levinson wore a light blue princess-seamed coat with black leather gloves stretching over hands she kneaded nervously. A younger woman—Joshua’s sister, Rebecca—was in a deep, rich red wool military-style coat with brass buttons marching double-breasted down the front. Mr. Levinson tugged the brim of his homburg farther down over his brow against the wind that came whistling up the Mersey from the Irish Sea.

And then there was Joshua.

He looked nervous, worrying the brim of his light gray wool hat with his long musician’s fingers. His suit, the first thing she’d noticed about him on that bandstand the night they’d met, was beautifully cut, and he’d had a haircut since the day she’d told him she was pregnant and he’d asked her to marry him on the spot. Hope flickered in her. He too had tried to look his best for their wedding.

She started toward the Levinsons, but a hand fell on her right forearm. “Let your father go first,” Mum said.

“I haven’t met Mr. and Mrs. Levinson yet,” she protested.

“Your mother knows best, Vivian,” said Dad.

Pushing down her frustration, she watched Mum take up Dad’s arm and approach her new family.

Mr. Levinson put out his gloved hand as her parents approached. “Mr. and Mrs. Byrne.”

Mum stared at Mr. Levinson’s hand for so long that Dad whispered, “Edith.”

With clear reluctance, Mum took Mr. Levinson’s hand. If the man noticed her mother’s frostiness, he didn’t mention it. Instead, he turned to Viv, arms outstretched, and kissed her on both cheeks. “My daughter- in-law.”

Joshua made a choked sound from behind him. “Not quite yet, Dad.” “Soon enough,” said Mr. Levinson. “My wife, Anne.”

“Joshua said you were pretty,” said Mrs. Levinson.

Viv blushed. “Thank you.”

“This is Joshua’s sister, Rebecca,” said Mr. Levinson, beaming with pride at the defiant teenage girl who held Viv’s eye.

“It’s good to meet you, Rebecca,” she said. Rebecca moved closer to her mother.

“I wish to say how happy we are that our two families are joining,” said Mr. Levinson.

“Dad,” Joshua said softly.

“I know that this may not be what any of us expected for Vivian or Joshua, but a marriage and the arrival of a child is a joyous thing,” said Mr. Levinson.

“Hardly,” Mum muttered.

“Mum, Joshua and I agreed—”

“You should be married in a church,” her mother snapped.

Mrs. Levinson grabbed her daughter’s hand as though Rebecca were a buoy.

Joshua cleared his throat. “The clerk will be waiting.”

Viv let him pull her up the stairs and to the door ahead of everyone else. At the threshold, she leaned into him and whispered, “Thank you.” Something haunted flickered in his eyes, but then he squeezed her hand, and that was all the reassurance she needed.

* * *

Joshua

He couldn’t breathe.

He knew that it wasn’t his shirt collar. His father had been making them for him since he could remember, and the fit was always perfect.

It was this bloody wedding.

He stood stiffly next to Viv in front of the registrar dressed in a dark ill-fitting suit and tie who droned on about the responsibilities of the marriage they were entering into. Everything in his life was about re- sponsibilities now. Even at nineteen, there was no escaping them.

He’d thought himself burdened before, when Dad had told him that if he didn’t plan to attend university he would work in the family busi- ness. He would train, assist, and eventually take over the tailoring busi- ness that had allowed Mum and Dad to move from the flat over the shop to their family home in Wavertree when he was just five. He nodded and showed up each day to work because what else could he do? The weight of it all pressed down on him, trapping him so that he felt he could hardly move.

The only thing that felt like an escape was music. Joshua’s love for the saxophone was rivaled only by the incredible sensation of playing in front of a crowd, all of their eyes fixed on him. He had talent, he had drive, and he had ambition.

He could see how, with another life—another family—everything could have been different. A manager would spot him in an orchestra and pluck him out, giving him a chance to front his own band. After headlining at a famous club, he would record an album. It would be a hit. People around the world would listen to his music. They would want more.

It felt almost inevitable until the moment Viv had caught him outside Dad’s shop to tell him she was pregnant.

“Do you have the ring?”

Joshua jerked to attention to find the registrar staring at him expec- tantly. He dug into his jacket pocket and produced the simple gold band that had cost him nearly all of his savings. Viv held up her hand while he mechanically recited his vows and slid the ring onto the fourth finger of her hand.

He wondered if the unfamiliar gold circle felt as heavy on her hand as it looked.

“I pronounce you man and wife,” said the registrar, closing his book with a snap.

It was done. In the eyes of the law, they were husband and wife.

Joshua stole a glance at Viv, her expression unreadable. Was she re- membering their first date, after the concert, when he’d walked her to the tearoom? Did she recall the way they’d kissed in the doorway of a closed shop? He could remember every moment.

Was it worth it?

“Joshua, aren’t you going to kiss your bride?” asked Dad.

Joshua tried his best to swallow. He should kiss Viv, shouldn’t he? That’s what husbands did at weddings.

He bent, and Viv turned her face up to his, but at the last moment, he lost his nerve. He brushed her cheek with his lips.

Viv exhaled, and his cheeks burned with shame.

Dad stepped forward, the wide smile on his face showing just how hard he was trying to make the best of this rotten day.

“In our religion, it is custom that the Sheva Brachot are recited during the wedding ceremony,” Dad explained to Viv.

“I’m sorry, I don’t know what that is,” said Viv.

“Dad,” said Joshua in a low tone.

Dad ignored him. “It is the Seven Blessings. May I?”

“Is that really necessary? We don’t have a cup or wine,” Joshua protested.

“Don’t speak over your father,” Mum admonished.

He snapped his mouth shut.

Baruch ata Ado-nai Elo-heinu melech ha’olam, bo’rei p’ri ha’gafen,” Dad began.

“John, I’m sure they need the room back,” said Mrs. Byrne, tugging on Mr. Byrne’s arm. “We should go outside.”

Dad looked a little stunned at Viv’s parents’ rudeness, and Joshua was unsure if he felt more embarrassed for his father or his new in-laws. “Mum,” Viv hissed at the interruption before moving to put a hand onDad’s forearm. “Please continue. I would very much like to learn.”

“It’s all right, Vivian,” said Dad graciously. “Perhaps your mother is right. We should give back the room.”

They filed out in silence, stopping on the top steps of St. George’s Hall. The wind had picked up, grasping at the women’s hair and rais- ing the edges of Viv’s brother-in-law’s scarf knitted in Everton Football Club’s blue and white stripes.

“Well, congratulations, Vivie,” said Viv’s sister, Kate. “And to you, Joshua.”

“Thank you,” he said.

“Sam and I want to invite all of you to our home to celebrate. It doesn’t feel right not to have a wedding breakfast,” said Kate.

“That’s very thoughtful of you,” said Mum before Joshua could de- cline the invitation. All he wanted to do was escape.

“It’s too cold to be rushing all over town,” said Mrs. Byrne, tugging up the lapel of her coat.

“Just come for one drink, Mum,” Kate urged.

“A wedding breakfast sounds lovely,” said Viv, a plea in her eyes. “Don’t you think, Joshua?”

Mrs. Byrne glared at her daughter. Then she pointed at Joshua. “I need to talk to you.”

Viv clung to his arm a little tighter.

“Don’t worry,” he said, peeling her hand off him. “I’ll just be a moment.”

He followed Mrs. Byrne a few steps away. Over the top of the woman’s head, he could see Kate move to Viv, the sisters speaking low and swift.

“Now that the wedding is done, I need to know how much,” said Mrs. Byrne.

He tore his gaze away from his bride and frowned. “How much?” 

“How much will it take for you to go away?”

His stomach fell to his feet. “To go away?”

“You’ve done your duty. The child will have a father. You’ve nothing more that you can give my daughter.”

“Mrs. Byrne—”

“What kind of life will Vivian have with you?” her mother asked sharply. “You’re Jewish. She’s Catholic. No matter where you go, people will know why you had to marry. They’ll hate her or shun her. I’ve seen it before with my own sister.”

“But we’re married.”

Mrs. Byrne nodded. “The child will be legitimate, but do you really think you can take care of a wife, let alone a family? Let her father and me take care of her.”

“I can’t leave her. I made her a promise,” he protested weakly. His mother-in-law was right. He had no idea how to be a husband to anyone, let alone to Viv. And a father? Not the foggiest.

But it wasn’t just the idea of having a wife and child that terrified him. It was his music. He knew that he was destined for so much more than the two-bedroom flat above his father’s shop. He was meant to be playing jazz, not worrying about whether a client looked better in single- or double-breasted jackets.

If only he had the chance—just one chance—he could make it as a musician.

His mother-in-law clicked open her handbag and drew out a stack of banknotes. “You’re a nineteen-year-old man. What are promises to you?”

He stared at the cash. There was so much money there, more than he had ever imagined holding. What if he sent for Viv after the baby was born? He could set them up in a nice little apartment, maybe in the Bronx, where he’d heard Irish Catholics and Jews lived side by side. Viv could keep house and raise their child while he found work. If he could get a steady gig with a band, he could provide for them and he’d never have to see another jacket pattern again.

He felt Viv come up next to him, the warmth of her body a comfort on the cold day. “Joshua?”

“I need to speak to you alone,” he said.

“No,” said Mrs. Byrne.

“Mum, what’s going on?” asked Viv, her eyes fixed on the banknotes in her mother’s hand.

“If we could just have a few minutes,” Joshua begged.

“Joshua, what’s the matter?” asked his father as the rest of the party joined them.

“Your son is leaving,” said Mrs. Byrne.

Viv reared back. “What?”

He grasped her hands. “Your mother has offered us money.”

“It isn’t an offer,” said Mrs. Byrne.

He turned his back to his mother-in-law, desperate to explain to Viv.

If only they could step aside. If only he could make her understand. “Listen, it’s enough to buy me a ticket on a ship to New York. I’ll find work. I’ll find a place to live,” he said quickly.

“What about me? What about our child?” asked Viv, her hand cradling her stomach through the gap in her coat.

“I’ll send for you after the baby’s born. I promise I will.” He was practically pleading now.

Viv was already shaking her head. “Think about what you’re saying. Moving to America? This is crazy.”

“This money—it’s my chance, Viv. What I’ve always wanted. If I can find work with an orchestra—”

“Listen to yourself. If. If you can find work. Joshua, you have no idea if that will even be possible.”

He took a step back. She didn’t believe he could do it. Despite their conversations and the starry-eyed look she’d had when he told her how big his dreams really were, when it came down to it, she didn’t think he was good enough.

“We’re married. We’re going to have a child.” Viv’s eyes cut to her parents. “You promised me that we would do this together.”

And now I’m promising that I’ll send for you. Until then, I’ll send money—”

“No,” said Mr. Byrne, finally speaking. The sound of the quiet man’s voice made Joshua stop short. “If you take our money, you will leave and never come back. You won’t write. You won’t visit. You will leave my daughter alone.”

It was all happening too fast. “I need to think.”

He could tell in an instant that he’d made a mistake. A bad one.

Viv staggered back. “You’re actually considering it.”

He almost took it all back then and there, but his father stepped in.

“Joshua, this is ridiculous. You have a wife now and a child coming. You have a good job. You need to be reasonable.”

A tailor is never out of work. Can you say the same for a musician? You should work in an honest profession.

You will grow bored with playing your little songs, and then you will be sorry you gave all of this up.

For years, all of Dad’s little comments had chipped away at him, slowly killing his spirit. It was death by a thousand good intentions, and he couldn’t endure it any longer.

“This is my chance, Dad. It would take me so long to save enough. . . . It’s what I’ve always wanted to do. You know this.”

His father’s face turned white. “How can you even think—” “Enough. Take the money now, or it is gone,” said Mrs. Byrne.

In that moment, Joshua hated his mother-in-law as he had never hated someone before.

“Viv,” he said, reaching out to wipe away her tears. “This is for the best.” Her lip began to tremble. “Where will I go? How will I raise our child? I can’t do this by myself.”

He tried to smile. “Don’t you see? You don’t have to.”

“But that is exactly what you’re asking me to do. What if you never make enough money to send for me?” she asked.

What if you fail?

Enough.

He screwed up his courage and held out his hand to Mrs. Byrne, who handed the banknotes over with a sense of triumph. They felt heavy in his palm.

“Joshua, please,” Viv started.

“This is my life too!” he burst out. “I won’t give it up.”

Viv took a step back. “If you leave today, I never want to see you again.

I don’t want your money. I don’t want you to visit. I don’t want you to write. This child will be my child and mine alone.”

He almost lost his nerve then as her words fell like blows. Her child. Not theirs.

“Viv . . .”

She shook her head. “Go. You’ve done enough. The baby will have your name. That’s all I needed from you anyway.”

You aren’t worth anything else.

Well, if that was how she felt, he wasn’t going to stick around and force her to live out this sham of a marriage. He would snatch his free- dom and go to New York, just as he’d always wanted.

He began to turn, but his father stepped in front of him.

“Joshua, do not do this,” Dad said.

“Let me leave,” he muttered.

“Think about what you are doing. Your mother and I—”

“He was always going to leave.” They all turned to look at Rebecca, who stood slightly at a remove. She was staring hard at him, as though she could read his most secret thoughts. “He’s been talking about it for years. We just haven’t been listening.”

Mum let out a guttural wail and fell into his father’s arms while Mrs. Byrne, wearing her triumph for everyone to see, wrapped an arm around her daughter.

“Come along. It’s time to go home,” said his mother-in-law.

He watched his bride and her family walk slowly back down the steps of St. George’s Hall and climb into the car they’d come in.

He could feel his sister step into place next to him. “She’s gone.” “That was her choice,” he said.

“Are you certain about that?” asked Rebecca.

Glancing at his sister, he said, “Take care of Mum and Dad.” Rebecca shrugged. “What other choice do I have?”

“I’ll be back,” he said.

His sister cocked her head to one side. “Will you?”

Even his own sister didn’t believe in him. Well, he would go to New York, and he would show them. He’d prove that he had talent.

Without another word, he stuffed his hands in his pockets and walked away, the Byrnes’ banknotes weighing him down like lead. 

Don’t forget to preorder The Lost English Girl before its March 7, 2023 release date!

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