Jo: I live in Colliers - in West By God Virginia. It's a quiet town, placed on the map as an afterthought. I'm in an narrow region of the state that's referred to as the Northen Panhandle. On one side of me is Pennsylvania and on the other is Ohio. I grew up not so very far from here in a town called Zelienople, just north of Pittsburgh. My family is scattered in New York, Maryland, and Pennsylvania - which is great when you think about it: we're within relatively easy driving distance, but we get great rates for all those long-distance state-to-state calls.

When I'm not writing, I'm working. Gee, that sounds pathetic. I've got to write me a life one of these days. Monday through Friday I am the executive director of an agency called Family Connections. Because I have great administrative support at work, I'm able primarily to function as a family therapist. I have to take vacations and use weekends from Labor Day until Christmas to write. By and large, writing is a hobby that keeps me entertained and relatively sane so I can do the work I still love - even after all these years.

For fun I go to plays. I'm nuts about musical theatre. I also see a lot of movies every year, and constantly bemoan the fact that there are no big screens left in all of western Pennsylvania. I read, of course, but lately I've been listening to more unabridged books on tape. The audio tapes are great for all the time I spend in the car, and without them I don't think I would ever get in the walking I need to do. In the summer I swim ... well, it's more accurate to say that I get in the pool, work on the Times crossword, and snarl at children who get my newspaper wet. I've put my competitive swimming days behind me. Way, way behind me.

Judy: When and how did you get started writing? Why did you choose the romance genre? What do you like about the genre?

Jo: I started my first book in 1978. I finished it, shelved it, and it's still gathering dust somewhere. The book that was published in 1984 was actually completed about five years before then. In the interim, I got my master's degree and confined my writing to class papers. Given the choice between writing papers comparing and contrasting Adlerian counseling to Gestalt therapy or writing about pirates, brigands, and rogues ... well, it was pretty much a given what I was going to do. The entire romance genre is just highly entertaining. I've been a fan of romance since the prince rappelled down the tower using Rapunzel's braids. I write, at least in part, for its Calgon-take-me-away value.

Judy: How long did it take you to sell your first book, and what was the first book you sold? How did you "get the word" and what was your reaction?

Jo: It took about four years to sell DARK LADY (later titled by the publisher as PASSION'S BRIDE, and much later retitled as THE CAPTAIN'S LADY). I got the word at work from Wendy McCurdy, who became my editor at Zebra for about nine wonderful years. She called a few days before Christmas and I immediately went into shock, so I don't have any memory of my actual reaction.

Judy: All of your books so far have been historicals - with lots of historical facts included in the stories. Is it difficult to do the research for your stories? How do you research your books? Would you ever consider writing a contemporary story?

Jo: Researching stories isn't particularly difficult. I've always enjoyed history, so I find looking into different eras pretty painless. The internet has been a real boon. I used it for a lot of the information for MORE THAN YOU KNOW and the followup, MORE THAN YOU WISHED (coming out in 2001). I keep a helpful collection of books handy: Women's Dress in the 1800s, References on Ships and Trains, The Timetables of History. Stuff like that. My father saved every National Geographic from the 1950s on, so I have maps, maps, and more maps. I'm pretty sure I should not be held up as an example of good researching. When my back is to the wall, and I can't find what I'm looking for, I have no qualms about making things up. It's fiction, after all. I do get a little snippy, however, when someone questions something that is researched.

As for contemporaries, funny you should ask. I definitely have one in mind and my editor and I have talked about it, but I'm just not certain how to fit it in. Time considerations being what they are, I can comfortably only do a book a year. To honor my historical commitments and still write a contemporary, I either have to find a way to stretch time or go on psychotropic medication.

Judy: Most of the books you've written are "connections" - two-book sets, trilogies, and even a quintet (the Dennehy sisters books). Do you start out with these connections in mind?

Jo: The connections generally are not planned. The McClellans were the first family I connected (CRYSTAL PASSION, SEASWEPT ABANDON and TEMPTING TORMENT), and that had to do with the appearance of a secondary character that I wanted to write more about. It just seemed natural to connect Jericho Smith to the McClellan family. The planned trilogy was the Thorne brothers (MY STEADFAST HEART, MY RECKLESS HEART, and WITH ALL MY HEART). I knew at the outset there would be three brothers and three books. Because of the work I do, I think of it as my foster-care-with-a-happy-ending series.

Judy: Do you plan the characters and basic plots in advance, or do they just sort of develop as you go along?

Jo: The first thing I do is think of a "what-if" question. You know, what if three boys were separated as children ... what if a young woman's kidnapper turns out to be a good guy (WILD SWEET ECSTASY - the first Mary Dennehy story) ... what if a murder witnessed by a child is recalled in twisted dreams as an adult (VELVET NIGHT) ... what if there was this riddle that no one had solved (MORE THAN YOU KNOW). Next I come up with names. I can't move the story forward in my mind until I have names for the characters. After that I think about the "when" of the story. I do some research about the time period if I don't know much about it, and I make some notes about how the characters look. I typically don't keep photos of hotties around for this part, although Daniel Day-Lewis in Last of the Mohicans was a notable exception. He was taped to my historical map of the USA until the sun faded his visage and tomahawk. Sigh.

Judy: Where do you get your inspirations for your stories and characters?

Jo: Other than the what-if questions, I don't know that I ever get particularly inspired. I think about stories when I'm driving or when I'm just about to fall asleep. I do alot of plotting while I'm mowing the lawn. The roots of inspiration usually occur to me afterward. For instance, the Thorne brothers trilogy owes a lot to events that happened in my own family. I wasn't consciously thinking of them when I wrote Colin's, Decker's, and Grey's stories, but they were an influence. As for the characters, they're simply people I would like to know.

Judy: Everyone whom I know who reads your books loves your five Marys (WILD SWEET ECSTASY, ROGUE'S MISTRESS, FOREVER IN MY HEART, ALWAYS IN MY DREAMS, and ONLY IN MY ARMS). Would you "talk" a little about them - how you got the ideas for each of them, whether or not it was difficult to keep the common threads developing through the five books, and so on. I'm especially interested in knowing about Mary Francis' story - I must say that I was surprised at the time (but happily so!) that you would write a romance about a nun. Did you get much feedback about that book, positive or negative?

Jo: The Marys were a bit of surprise to me. I suppose that comes from not making an outline and flying by the seat of my pants sometimes. You asked about inspiration earlier and I forgot this tidbit. My brother (who thinks every hero I write is really him, and imagines parlaying this fantasy into becoming a babe magnet - to say nothing of wanting a cut of the royalties) once dated a woman who was a "Mary." All of her sisters were Marys. My brother confined his interest to one Mary - thank goodness - but the idea of a family of sisters all sharing the same first name intrigued me. When I came to the point in Mary Michael's story that I had to discuss her family, I was seized by a desire to give her the Mary sisters. I'm very glad I stopped at five. I also didn't decide that Rennie was her twin sister until very late in the book. As the book began to wind down I realized I had a connecting book in the works. Rennie's story, ROGUE'S MISTRESS, actually begins with a scene taken from Michael's book, told from a slightly different perspective. As I was working on Rennie's book, I began to think seriously about doing a book on Mary Margaret and Mary Schyler. At that point I was dedicated to the idea that Mary Francis, the nun, would remain just that. I didn't want to make light of her commitment to serving the Lord by turning it into a plot device. With Mary Francis off my radar screen, I concerned myself with developing (in small ways) some of the characterizations of Maggie and Skye. I dropped hints about them in Rennie's story. When it came time to do Maggie, I had a pretty good idea of the kind of person she might be. The same was true of Skye. At the same time, my editor was putting the bug in my ear about Mary Francis. I began to be more interested in the idea, but I wanted to be certain that I could effectively write about her decision to become a nun in the first place, and what would move her from that course. As I thought more about it, and realized I would write the story, I planted tiny seeds in Maggie's and Skye's stories about the possibility that Mary Francis was not quite so content as it would have first seemed.

What I find most difficult in writing five connected books about one family is to find a way to bring new readers up to date without putting off readers who are familiar with what's gone on before. For returning readers, visiting the Dennehy clan and Jay Mac Worth should be like visiting good friends: bring to mind that sense of being able to pick up a conversation just where you left it, sharing confidences as if there had never been a separation of weeks, months, or even years. As to how well I was able to accomplish the integration, each reader has to judge. I know I was satisfied that I gave it my best effort.

Reader response to the books is interesting. When people have written or told me about the favorite Mary book, I often ask them why they that chose one over another. The answer? It has to do with their own birth order. The youngest in a family almost always cites Mary Schyler as a favorite. Middle children like Maggie. The other three Marys acted essentially as the oldest children often do. The first four books deal in many ways with the Marys' relationship with their powerful father. It is in Mary Francis's story that I found a way to think and write about the more subtle, but just as powerful influence of their mother, Moira Dennehy.

And then there were all those heroes: Ethan, Jarret, Connor, Walker, and Ryder. Sigh. I loved them.

Judy: At RBL, we've often discussed our favorite heroes and heroines. We've even taken polls about which hero we'd like to be stranded on a desert island with. In your estimation, what qualities make up the perfect hero in a romance book - and what qualities make up the perfect heroine?

Jo: Hero or heroine - it doesn't much matter to me. Intelligence is sexy. Really sexy. Loyalty. Basic decency. Confidence. Drive and purpose. Tenderness. Kindness. A few personal demons to keep one humble doesn't hurt - but no whining about them. Empathy. Ability to own a mistake. Strength and vulnerability. And humor, especially the good sense to be able to laugh at oneself, at the ironies inherent in daily life, and because laughter just feels so damn good.

Now, having said all that, it helps if the hero is wearing boots and a smile and the heroine's wearing the hero.

Judy: You write wonderfully hot sex scenes in your books - where do you get the inspiration for these scenes? (We're the RBLs - you had to know that this would be one of our questions! *BG*)

Jo: I figured you might ask, but I'm not going there. My mother recently became Internet savvy. She might be lurking!

Judy: What do you think are the ingredients for a great sex scene? Many recent books have really pushed the envelope on graphic (and even kinky) sex; what is your opinion on this?

Jo: Remember I said earlier that I like musical theatre? Well (and I swear this is going somewhere), in a good musical play, the songs advance the story. It's more than setting the tone; it's more than a sound track. The songs push the story forward and reveal something about the characters. That's what I think a good love scene has going for it. It reveals something about the characters and something about the relationship. There's opportunity in foreplay and post-coital confessions, to say nothing of the in-between, to add something to the story.

Oh, but you asked about sex scenes. And I only have one word: plastics. (That line dates me and proves I see a lot of movies.) The word I really have is tension. A really hot scene provides a strong element of tension ... and tension release.

You mentioned I write hot sex scenes. That's something I can't properly judge because they're such hard work and they're not particularly satisfying for me. Was it good for you? he asks. She says: Oh, puh-leeze, I'm trying to write here.

As for pushing the envelope with the sex scenes ... it depends if it works for the story. I hold myself back sometimes for a variety of reasons. If I were going to write under a new pseudonym, I'd probably just let it rip and the cover would have to be flame retardant. Hmmmm. It's an idea.

Judy: Do you have a favorite book - or hero or heroine - from those that you've written?

Jo: This is always a tough call because it can change with my mood. One of my favorite stories is SWEET FIRE, because of Lydia and Nathan and the Australian location (for about the last third of the story). I also have a special fondness for two short stories that I've done. One is "My True Love" in a Christmas collection called A GIFT OF JOY, and the other is "The Baby Dream" in a collection titled BABY DREAMS. As I'm writing this, it occurs to me that what ties all of those picks together is a certain vulnerability of the heroines. They weren't terribly confident women but they forged ahead in spite of what they saw as their own shortcomings. Mary Margaret Dennehy, in FOREVER IN MY HEART, is another favorite with similar characteristics. I suppose, if I'm being honest, it's how I often feel so I identify with them in that way. It doesn't make them any easier to write. As for favorite heroes, I'd have to say Logan Marshall in PASSION'S SWEET REVENGE (have I mentioned that I don't title my books?) and maybe Ryland North in SCARLET LIES.

Judy: In going through your books (and rereading some of them *BG*) to prepare this interview, I couldn't help but notice that the covers of your books run the gamut from the buxom-women-muscular-men-half-dressed covers of the 80's and early 90's to the floral-and-other-designs covers that seem to be common now. What is your opinion about the covers on romance books in general? What kinds of covers do you prefer? Do you have any say about the covers of your books?

Jo: I've always liked illustrated books. I like seeing a picture of the hero and heroine together or separately. I also like tasteful. I thought the cover for Robin Shone's THE LADY'S TUTOR was stunning. It was erotic because it was understated. For me, less is more when it comes to clinch covers - and I'm way okay with the hero keeping his shirt on when the scene behind him is four feet of snow. In fact, I'm mostly in favor of the hero always keeping his shirt on - and letting my imagination do the rest. I have had virtually no say about the covers for my books. I've often been asked (and I'm often guilty of having no ideas), but sometimes I've had ideas and the cover doesn't reflect them. MORE THAN YOU KNOW has gemstones on the front cover (which relates to the book), and an illustration of the hero and heroine on the back which I think was beautifully done. That worked for me.

Judy: The romance genre in general is often looked down on or belittled. What would you say to those who criticize the genre?

Jo: Read something else. (Or, in the event they've never read romances and think they know what the genre is about: Read something.) Really, I think entering a debate with the critics about the merits - or lack of them - of the romance genre is a waste of my time. I'd rather be reading. Defending the genre isn't the answer because it invariably comes across as, well ... defensive. The defense invariably gives some credence to the critics' arguments. Sometimes it's a good thing just to remove your sails from the other person's wind.

Judy: Do you read for pleasure? If so, what kinds of books do you read? What are some of your favorite books and who are some of your favorite authors?

Jo: Sure, I read for my pleasure. I read romance and suspense. My all-time favorite book is ATLAS SHRUGGED by Ayn Rand. I read Clive Cussler and Steve Martini for current adventure/intrigue novels. In the romance genre, I especially enjoy Susan Elizabeth Phillips, Mary Balogh, and Jennifer Cruisie, but I have many, many other authors on my list. Since getting online and paying attention to the recommendations of so many well-versed, fiercely loyal, and wonderfully opinionated readers, I've been introduced to Neville, Evanovich, Gabaldon, and Laurell K. Hamilton. In one way or another, all of those authors have provided highly entertaining experiences.

Judy: I understand that your next books are about a brother and a sister during the time period of the Civil War. Would you tell us a little (or a lot) about them? What else are you planning for the future?

Jo: MORE THAN YOU KNOW (May 2000) and MORE THAN YOU WISHED (2001) actually take place ten years after the Civil War. I'm just terrible at doing a synopsis of my own work. (Plus, I'm lazy.) But the basic storyline of MORE THAN YOU KNOW is about Rand Hamilton, who wants to rebuild his Charleston plantation. To get the financial backing do so, he agrees to allow a British heiress to accompany him. For a blurb and a chapter preview, I invite you to visit my website - and come away with "more than you know."

As for what's in my future ... I have ideas. A few what-if questions. I need to start mowing the lower 40 again so I can get some alone time. Me and the Toro. Sort of like bull riding but without the bucking. I can think. I can plot. I can feel the vibrations. It's a good thing.

Ketchup
October 2003



LET ME BE THE ONE
September 2002
The heroine is a beautiful, bright woman who wishes to remain unmarried - the hero, an English nobleman, is drawn to her - they become friends, and, when he is accused of a crime, she creates an alibi for him which compromises them and forces them to marry - however, she harbors several secrets which the hero must unravel before they can be happy together - and one of the secrets puts them in danger. An exquisitely written romance from JG, this is the first of four books about four boyhood friends who formed a "Compass Club" as a means to band together and protect one another - a determined but frightened heroine - an equally determined and powerful hero - an intriguing plot that keeps the reader turning the pages - a perfect example of why JG is always an automatic buy for me!

EVERYTHING I EVER WANTED
March 2003
The heroine is a star of the London stage who harbors a terrible personal secret - the hero, a British viscount, is a member of a British intelligence organization - the heroine comes under suspicion when several men with whom she is aquainted are murdered - the hero is appointed to look into the deaths - he comes to believe that she is unknowingly involved and that her life may also be in danger - he does not imagine the truth, however, even though he becomes enamored of the heroine. This is the second in the series by JG about four boyhood friends (nicknamed North, South, East, and West) - a needy, terrified heroine - a resolute, caring hero - incredibly sensual love scenes - a gripping, unforgettable storyline - if you've never read a JG romance (which I can't imagine!), start with this one and you'll become a devoted fan!

ALL I EVER NEEDED
Coming October 2003!



Judy: Jo, it has been over three years since we last visited with you! Since that time, you have begun your wonderful "Compass Club" series. Will you tell us about that?

Jo: The Compass Club series was inspired by my brother and three of his college buddies who continue to keep in touch via e-mail some twenty years after graduation. My brother John invited me (with the permission of the others) to read their messages and I found myself laughing hard many mornings over coffee, giving rise to the attractive morning-spew-and-computer-screen-cleanup. At other times their exchanges were truly touching. They're funny and wise and smart and occasionally manage to be sensitive, though this last is carefully guarded lest it be used against them by their significant others.

While John, Karl, Buddy, and Butz inspired the Compass Club, the similarity between the two groups is pretty much that there are four members in each. They'd like to think their adventures provided the fodder for North, South, East, and West, but their contemporary adventures consist of running the kids to soccer and swim practice, adding Turfbuilder to their lawns, waxing poetic on the sublime taste of Rolling Rock, and giving suspicious romantic/dating advice to one another as needed.

The Compass Club, though, is something else again. The four friends of this series meet at the fictional Hambrick Hall as schoolboys and manage to maintain their friendships well into adulthood. Their adventures happen more or less simultaneously, not one after another, so that certain situations are repeated throughout the series, albeit from a different perspective. Trying to keep all of the particulars straight made this group of books a challenge that I won't try to repeat any time soon.

Judy: After East's and West's books, what's next?

Jo: Well, I'm not entirely sure. I have something else in the hopper but I'm not sure what's going to happen with it. You'll know when I know. I definitely have plans for a few more Regencies. I like the era, the language, and the adventuring, plus my editor has pointed me in that direction. It's always a good idea to follow his compass.

Jo's Website


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