The Tempting of Thomas Carrick (Cynsters 22) by Stephanie Laurens-Book Tour and Promotion
The Tempting of Thomas Carrick
Cynsters #22
by Stephanie Laurens
Genre: historical romance
Release Date: February 24, 2015
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ABOUT THE BOOK: Release Date February 24, 2015
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Thomas Carrick is determined to make his own life in the bustling port city of Glasgow, far from the demands of the Carrick clan, eventually with an appropriate wife on his arm. But disturbing events on his family’s estate force Thomas to return to the Scottish countryside—where he is forced to ask for help from the last woman he wants to face. Thomas has never forgotten Lucilla Cynster and the connection that seethes between them, but to marry Lucilla would mean embracing a life he’s adamant is not for him.
Strong-willed and passionate, Lucilla knows Thomas is hers—her fated lover, husband, protector, mate. He is the only man for her, just as she is his one true love. How can he ignore a bond stronger than reason and choose a different path? She’s determined to fight for their future, and while she cannot command him, she has enticements of her own to wield when it comes to tempting Thomas Carrick.
But her hand remained on his cheek, her touch scalding in a way that had nothing to do with heat, effortlessly holding him captive. Holding his senses, snaring them in a net of want from which he couldn’t break free.
His senses and his mind were literally reeling.
She seemed to know, to realize.
But instead of comprehending the danger, pulling back, and letting him go, she reached—with her lips, with her body, with the gentle pressure of her hand on his cheek.
A sudden clattering clang of hooves on cobbles snapped them both free; on a mutual gasp, both pulled back from the kiss.
The sharp clatter was followed by shouts and calls.
For one instant, they remained locked together, gazing into each other’s eyes. Both of them were breathing rapidly. His pulse thudded in his ears.
Then the calls rising from below hauled them both fully back to the here and now.
They stepped apart. Side by side, they moved to the window.
That end of the disused wing overlooked the stable yard. On the cobbles below, they saw Nigel and Nolan, still mounted, their horses dancing, infected by the brothers’ transparently ebullient spirits.
Nigel had called for the stablemen—that had been the summons Thomas and Lucilla had heard—but Sean, Mitch, and Fred were taking their time.
Thomas watched as the stablemen slowly ambled across the yard and—it seemed grudgingly—held Nigel’s and Nolan’s horses. Apparently oblivious to the almost sullen disapprobation radiating from their clansmen, the brothers continued exchanging comments with each other as they dismounted, then haphazardly flung their reins toward the stablemen and started toward the house.
There were no greetings exchanged between the stablemen and the young masters of the house. As far as Thomas could see, there hadn’t even been any true acknowledgment of each other—a remarkable contrast to when he’d ridden in.
Frowning, he stepped back from the window. Less than a second’s thought sufficed to suggest that making his presence known to Nigel sooner rather than later would serve everyone, Manachan especially, best.
He looked at Lucilla. She was still gazing down at the stable yard, at the stablemen leading the horses away. Even though he couldn’t see her eyes, from her pensive, assessing expression it was clear that she’d detected the strain between the two groups of men and, like him, found it curious.
“I should go and break the news to Nigel.” He took another step back. When she turned to look at him, he pointed over his shoulder at the door just along the corridor. “That’s the door to the gallery in the main wing.” Briefly, he met her gaze. “I’ll see you later.”
He didn’t wait to see if she would reply; he turned on his heel, strode to the door, and escaped.
Lucilla watched him go. He left the door ajar; whether he’d meant to or not, it was a clear invitation to follow. Which she fully intended to do.
The kiss…had been everything she’d wanted. Even more than she’d dreamed of. But now Nigel and Nolan had arrived, such personal matters had to be set aside—for the moment. Until later.
Thomas and Lucilla are both especially strong and stubborn characters, as so many of your heroes and heroines are. Is there a particular reason for this a) in general, and b) in this particular case?
In the general sense, I’ve always used strong characters because the scale and intensity of emotional clashes between such characters is more powerful, has the potential to be more wide-ranging, and is also likely to strike brighter sparks. A strong character doesn’t give way when someone opposes them or gets in the way of their will and drive—they immediately push back, and that refusal to back away is one of the key elements that leads such a pair of characters deeper and deeper into Cupid’s snare as they are forced to adjust and adapt to each other–a critical element of establishing an emotional partnership.
There’s a general assumption that strong and confident characters will have an easier time dealing with love, however, in reality I think it’s the opposite, and such characters find the existence of an emotion strong enough to make them change difficult to accept.
Which brings me rather neatly to Thomas and Lucilla. He is the ultimate strong character with a very powerful, emotional, and deeply personal reason to shut himself off from love. Against that, Lucilla, an equally strong character, is unswervingly convinced that they are fated to love and marry—but she, too, has a few lessons to learn in what love—even a fated love—will demand.
In short, my motivation for using strong characters can be summed up as: the stronger they are, the more they resist and, ultimately, the harder they fall.
Readers first met Thomas Carrick in the Cynster holiday special By Winter’s Light. Did his earlier meeting with Lucilla described in that book affect the pair’s actions in this book?
That earlier meeting in By Winter’s Light sets the stage for Thomas and Lucilla’s romance. Both of them leave that first encounter with the knowledge that the other could be their future spouse. Lucilla is ready to accept that Thomas is her fated future husband, lover, and consort, but Thomas, having experienced a complementary visceral connection to Lucilla, concludes that, as he wishes to avoid love, then she is someone he would be wise to avoid.
So from the instant they part after that first encounter, they are set on opposing tracks—Lucilla expecting and waiting for Thomas to return to her side and claim her hand, and Thomas doing his level best to stay far away.
It’s a standoff, until the actions at the start of The Tempting of Thomas Carrick force—literally force—them together again.
Deerhounds feature in By Winter’s Light and also in The Tempting of Thomas Carrick. Why deerhounds?
I needed a large dog to accompany Thomas through the snowstorm in By Winter’s Light, a dog big enough to physically assist, and also the sort of dog that might have been in such a community—a gentry family in the Scottish uplands of the period. So I went searching for breeds of dogs, and stumbled upon Scottish deerhounds. The more I read about them, the more perfect they seemed, and so Hesta padded onto my stage, and from there, the addition of Artemis and Apollo was an obvious extrapolation.
The dogs are fascinating—a shaggy, curly-coated, quite large breed built for speed and with superb eyesight. They are sight-hounds, and also track on the ground by scent, and as their name suggests, were specifically bred to hunt deer in the rugged terrain.
However, the real impact of the deerhounds, story-wise, doesn’t occur until the next book, A Match for Marcus Cynster, in which the packs we learn about through The Tempting of Thomas Carrick, come into their own and play an active role in Marcus and his lady’s adventures.
Both By Winter’s Light and The Tempting of Thomas Carrick are set in Scotland, in the south western uplands. Were there any particular challenges in using such a setting?
By Winter’s Light and The Tempting of Thomas Carrick are both centered on the Vale of Casphairn, which was a setting first introduced in Scandal’s Bride, the story of Richard and Catriona, Lucilla and Marcus’s parents (more on that below). Thus the settings for the recent books were not a matter of choice, but rather mandated, a necessary return to a previous place.
Such a wild country setting is very useful on the one hand, and a drawback on the other. The rugged beauty and landscape is a plus, while the isolation and the distance from any larger town or place of social congregation severely limits the opportunities for social events, even country house dinners. Consequently, the action in the story remains at all times strongly focused on the interaction between the two principal characters, with little to no distraction from external events. That puts a heavier burden on the romance plot than would be the case in a more urban setting, but that does mean the romance dominates and is always front and center. So there’s positives and negatives in using such a setting, but, overall, such settings definitely have their place when writing romances.
In this book, you also take readers to Glasgow—you paint quite a cosmopolitan picture of the town. How true to life is that depiction?
I admit that my first mental vision of Glasgow was as a heavily industrialized town, centered on shipping on the Clyde. While the importance of shipping on the Clyde was correct, in the mid-1800s, Glasgow was a thriving merchant center with distinct aspirations toward the sophistication, polish, and civilized amenity we might associate with a seaport like Boston. In this period, Glasgow was a major merchant hub, and it was therefore highly prosperous, and the resulting wealth found expression in the houses and squares, the well-appointed offices and genteel clubs and in the evolving social scene.
Readers are familiar with Casphairn Manor, and the Vale of Casphairn, but the nearby village is Carsphairn. Was there a reason for the difference?
This is one of those tales of things that “would not happen now.” I wrote the first novel featuring the Vale of Casphairn and Casphairn Manor back in the days before Google Maps. Or any sort of satellite imagery, or even ready access to detailed maps via the internet. At the time, I had several detailed maps of England, but as the village of Carsphairn is a very small settlement, it was shown in small—not to say tiny and non-expandable—font. So I read the name as Casphairn, not the correct Carsphairn.
Years later, when I was writing Viscount Breckenridge to the Rescue, where the characters spend time in the Vale and at the manor, I was using Google Maps to study the areas to the east of where I had positioned the Vale, and when I zoomed in…I saw that the village name was really Carsphairn! Horrors! Luckily, I don’t think I’ve ever actually said the village itself was called Casphairn, only the Vale and the manor, but it was too late to change those—they’d already been written into history. So the Vale and the manor, both of which are fictitious, remain as Casphairn, while the village is correctly named Carsphairn.
Out of curiosity, I did go back to the original map. To the naked eye, it still looks like Casphairn—only with the help of a strong magnifying glass can you see that extra r.
Lucilla’s position as healer to the Vale community, and, indeed, all people under The Lady’s protection, features strongly in this book. How common were such healers?
Despite the rise of more formal medicine and the doctors who practiced it, traditional folk healers—those we might now term homeopathic healers or herbalists—were not uncommon into the late 1800s in England. In country areas, they would almost always be the first consulted, even by those living in the larger, wealthier houses. The history of herbal remedies is very deep and broad throughout the British Isles, and the more isolated the community, the greater the distance from a major town, the more likely that the people would turn first to the local “healer.” Midwifery and the treatment of common ailments remained largely the province of such healers even into the 1900s.
That said, as mentioned in this book and the next, in this period, when it came to interacting with the apparatus of law and order, for instance in formally reporting a death, the “doctor”—meaning a man formally trained in the western medical tradition—would be the one sent for.
This book is the first of the Cynster Next Generation Novels, and will be followed by Lucilla’s twin brother, Marcus’s story in June. Are there more Cynster Next Generation Novels to come?
Yes, indeed! As By Winter’s Light was in essence a pivotal volume, shifting focus from the original Bar Cynster generation to the lives of their near-adult children, and within the tale of By Winter’s Light were the seeds of Lucilla’s romance, then her book had to come first, in The Tempting of Thomas Carrick. And within Lucilla’s story lie the seeds of Marcus’s story, and as he is her twin, his book, A Match for Marcus Cynster, had to come next. It will be released on May 26, 2015.
But at the end of The Tempting of Thomas Carrick, and even more definitely at the end of A Match for Marcus Cynster, we catch up with the other Cynsters now facing up to the challenge of marriage and finding a suitable spouse. We see and appreciate that all is not going to be smooth sailing for such very robust individuals, neither the males nor the females. There are at least 6 more Cynster Next Generation novels to come—the romances of Devil’s three children, Sebastian, Michael, and Louisa, and those of the remaining “older group”—Prudence, Christopher, and Antonia Rawlings. After that…well, I’m sure that by the time I finish Louisa’s tale, we’ll know a lot more about Annabelle, Juliet, and Therese. And I already know what Calvin and Carter get up to, which should prove a lot of fun. Lots more to enjoy!
#1 New York Times bestselling author Stephanie Laurens began writing romances as an escape from the dry world of professional science. Her hobby quickly became a career when her first novel was accepted for publication, and with entirely becoming alacrity, she gave up writing about facts in favor of writing fiction.
Laurens’s novels are set in the time period of the British Regency, and her settings range from Scotland to India. Laurens has published fifty works of historical romance, including 29 New York Times bestsellers. All her works are continuously available in print and digital formats in English worldwide, and have been translated into many other languages. An international bestseller, among other Stephanie’s email contactsaccolades Laurens has received the Romance Writers of America prestigious RITA Award for Best Romance Novella 2008, for The Fall of Rogue Gerrard.
Website: http://www.stephanielaurens.com/
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