One duchess. One part-time spy. One German Shepherd who keeps digging up murder.

Roger is a German Shepherd with a traumatic past, a devoted heart, and a talent for digging up exactly the wrong thing at exactly the right moment. In this mystery series, that talent solves murders.

Roger belongs to Nell Ainsworth, 9th Duchess of Belward, who never expected to inherit a title, let alone a crumbling Cornish estate. She inherited both anyway, along with Roger, an alcoholic gardener, and more family secrets than the manor has rooms. Which is saying something. The manor has a lot of rooms.

Nell is rich, entitled, and does exactly what she wants. What she wants, it turns out, is to solve mysteries. Rounding out the household is Henry, her valet, an MI5 officer who now manages her finances, her crises, and his own feelings about her, in roughly that order of success.

Together this unlikely trio takes on blackmailers, buried treasure, vanishing musicians, and the occasional ghost, all while Nell and Henry pretend they are not engaged to be married in three years. They are. They agreed not to discuss it. They discuss it constantly.

The Nell Ainsworth mysteries are a sparkling blend of golden-age puzzle and screwball romance: Agatha Christie’s plotting with a modern, madcap soul. Each book stands alone, but the secrets of Ainsworth Manor run deep, and the Duchess intends to dig up every last one of them. Usually literally. Usually in a storm. Roger helps.

Perfect for fans of Richard Osman, Rhys Bowen, and anyone who loves dog mysteries, witty heroines, and country house crime with heart.

When violinist Sebastian Vane abandons a sold-out Royal Albert Hall performance thirty-eight bars in, and walks off with a twenty-million pound Stradivarius named Lady Aurelia, London society calls it a celebrity breakdown. Nell Ainsworth, ninth Duchess of Belward, calls it a plot hole. The only one who is not baffled is a German Shepherd named Roger, who is technically not supposed to be there.

Then Nell receives a series of beautifully mannered letters at her own front door—each one more polite, and less friendly, than the last. Now she and Roger must follow a mystery which began in 1698 in Cremona, Italy, through a glittering Belgravia townhouse, a Bermondsey warehouse at midnight, an exclusive bridal salon, to an Oxfordshire lunch party where the guest list includes armed men in the delphiniums.

Investigating alongside Nell, in his official capacity as her valet and his unofficial capacity as everything else, is Henry Templeton, lately reinstated to a certain building on the Thames. Between them stands an engagement scheduled for three years hence, an arrangement both parties agreed was sensible and neither believes for a minute.

The second Nell Ainsworth mystery is a sparkling blend of golden-age puzzle and screwball romance: Agatha Christie’s plotting with Nora Ephron’s nerve, for readers who like their country-house intrigue with Camorra bosses, their love stories conducted via surveillance log, and more dogs than anyone knows what to do with. Begin with The Roses of Ainsworth Manor, or start here—the door is almost always open.

Book two in the Nell Ainsworth mystery series. Available on Amazon and wherever books are sold.

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The trouble is, it is maddeningly hard to describe, much less bottle. It’s tempting to chalk it up to good genes or good luck, but it’s not an accident; it’s an operating system. I call it an Elegance Code.

The Elegance Code pulls back the curtain on that invisible operating system and shows readers how to build one of their own, so they can live in a crazy world with grace and poise regardless of what is going on around them.

Style books hand you a formula. This book hands you a method of thinking you can apply to any situation, in any room, for the rest of your life.

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Resistance rarely kicks the door down; it usually tiptoes in wearing fuzzy pink slippers. It starts with the tiniest move away from your work: I’ll just check my email, I should really wipe this counter, Maybe I need a different notebook for this idea. Catching that first sidestep makes it a lot easier to laugh, turn around, and head back to your art before you wake up three hours later deep in a laundry spiral.

You can even start to recognize your “signature” first moves: anything involving the word Facebook or TikTok, the urge to reorganize your junk drawer, and the powerful conviction that now is the perfect time to research Venetian plaster. Once you see them, you can say, Oh, there you are, and steer yourself back: five minutes on the project first, then we can alphabetize the spice rack.

Journal prompt: Think of the last time you meant to create but did not. What was the very first move away from your work? Write it down with humor and affection.

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Questions

These questions are here to support you in going deeper on your own or with a book club or creative circle. Use whatever is helpful, add your own ideas, and feel free to ignore anything that does not speak to you.

1. Question:

What does it change practically and emotionally when you stop waiting for inspiration and start treating creativity as a daily practice?

Author note:

This shift is major, and I’ll even say, a watershed event in crossing from the amateur mind to the professional mind. The shift from “I create when lightning strikes” to “I create because it’s 3 pm. Tuesday” is the spine of the entire book. Habit-based creative practice is less romantic on the surface, but it’s the only approach that reliably produces both growth and surprising brilliance over time. It’s the road to mastery.

2. Question:

The book talks about “start badly, often.” When have you seen awful beginnings lead to surprisingly good outcomes in your own life?

Author note:

All the time. The only difference between me, and a raw beginner in that respect is that it’s old hat to me. It’s just part of the creative process. “Start badly” is permission and strategy. Once creators realize clumsy openings are normal for everyone, not diagnostic, they move faster, experiment more, learn to be less upset by that awkward feeling, and discover that refinement is a separate, later skill—not a condition of entry.

3. Question:

How does lowering starting friction (prepping tools, tiny first steps, pre-deciding what to do) change your experience of resistance?

Author note:

When you search for friction in your practice, you find ways to sidle up to it and slip by it before it knows you’re there. Most resistance lurks in micro‑obstacles: the missing pen, the messy desk, the “I don’t know where to start.” Shrinking friction eases resistance and doesn’t require you to be more disciplined in some heroic way; it just removes resistance’s easiest excuses.

4. Question:

Do you agree that the unspectacular practice days matter more than rare “genius” days? Why or why not?

Author note:

It’s not that they matter more, but frequency and consistency, when it comes to practicing your art, will have a greater impact. The theory is that cumulative, ordinary effort builds more skill and confidence than a handful of dazzling but sporadic sessions.

5. Question:

How did the Michael Phelps and Tom Brady examples land for you? Do they change how you think about habit-based creativity?

Author note:

Those stories are there to smuggle in an uncomfortable point: the very people we label “genius” or “GOAT” have some of the most boring, repetitive systems on earth. It’s a reminder that consistency is not anti‑creative; it’s often the engine of greatness.

6. Question:

The book suggests designing a practice that fits “your life now.” What’s one way your current season (family, health, work) could shape your practice instead of blocking it?

Author note:

The invitation here is to work with the messy, noisy, real life you actually have, and create now, versus planning to start when everything is perfect. I know it sounds insignificant, but even ten minutes a day is better than no minutes a day.

7. Question:

How do you feel about the idea of choosing one primary practice for a season? Does it feel clarifying or limiting?

Author note:

Picking a primary practice is not a life sentence; it’s a way to give one thing enough attention to grow roots in the time you’ve allotted. Everything else can still exist, but there’s one clear “main character” for your creative energy. Having said that, if someone has eight hours or more every day to make art, and has time to dabble in multiple genres, that could be beneficial.

8. Question:

What new possibilities open up when you stack a creative habit onto an existing one (like coffee, dog‑walking, or toothbrushing)?

Author note:

I first heard about the idea of stacking habits codified in James Clear’s Masterclass. Stacking habits is one of the sneaky ways to get around the “I forgot” problem. By anchoring creativity to routines you already have, you stop relying on willpower and start relying on structure and momentum.

9. Question:

Which micro‑practices from the book felt most doable to you? How might they change your sense of being “a creative person” if you actually did them?

Author note:

Micro‑practices are micro on purpose. They’re teeny enough that you cannot take yourself too seriously. Over time, those scraps add up to a surprising amount of skill and identity shift.

10. Question:

“Practicing finishing” is a big theme. How does your relationship to “done” show up in your life right now?

Author note:

Finishing is less about perfection and more about closing loops. Each completed thing—wonky, imperfect, honest—teaches you more than a dozen projects hovering eternally at 80% done. Keep in mind that we learn something every time we finish a project, and ideally the next one gets fractionally better. It’s taking a long view toward an artist’s life, but it removes a lot of stress from the process.

11. Question:

The book describes unfinished work as “wily” and perfectionism as “the boss forever.” How have unfinished projects affected your confidence?

Author note:

Unfinished work can become a kind of self‑haunting. The hope is that reframing finishing as a practice, not a verdict, helps people gather data, as in “What worked? What didn’t?”—instead of living with a drawer full of imaginary masterpieces.

12. Question:

What does “seeing your whole life as a studio” stir up for you—relief, skepticism, excitement?

Author note:

This idea is meant to lower the bar. If your studio includes the shower, the car, the grocery line—anywhere you notice or tinker—then you realize you’re already in contact with your creative life far more than you thought.

13. Question:

How did the “Life‑As Gallery Walk” exercise change the way you see your home, if you tried it (or imagine trying it)?

Author note:

The gallery walk is a way to smuggle creative thinking into cleaning and organizing. It asks you to move from “I have to tidy” to “I’m curating,” one small view at a time, so your environment evolves gently instead of requiring a grand makeover.

14. Question:

In what ways does your current space feel like “you,” and where does it feel more like a catalog or someone else’s taste?

Author note:

The home discussions are about giving people permission to prioritize personal meaning over trends. Artists’ houses tend to be grown, not staged; the same can be true for anyone’s space, one object or corner at a time.

15. Question:

Do you resonate more with “decorator brain” (rules, trends) or “artist brain” (feel, use, mood) when you think about your living space?

Author note:

Neither is wrong, but many readers secretly crave a more personal, idiosyncratic space. Naming the difference helps them realize they don’t need permission to build a room around “What do I love and how do we live?” instead of “What’s in this year?”

16. Question:

How does treating your house as “a three‑dimensional opportunity to express your creativity” shift what you might change next?

Author note:

This idea is an invitation to play. It reframes design decisions from “Is this correct?” to “Does this express us?” That’s a much friendlier question to experiment with.

17. Question:

What role do you want technology to play in your creative space: tool, toy, background noise, or something else?

Author note:

Tech is not the villain; autopilot is. The goal of that exploration is to help readers decide intentionally: “Here, my phone is a reference tool,” or “Here, my tablet is for drawing, not doom-scrolling.”

18. Question:

Where do you naturally go to think, and what changes when you claim that place as part of your creative practice?

Author note:

People often underestimate “non‑making” time—thinking, reading, staring at trees—as frivolous. Naming a reflection spot gives these activities status: they become official parts of the work, not guilty procrastination.

19. Question:

Which idea from the book feels like the biggest permission slip for you right now?

Author note:

Different readers need different permissions: to work small, to work imperfect, to work big, to take themselves seriously, to work in stolen minutes, to work in a messy house. This question helps surface which belief, if it truly shifted, would make everything else in a creative life easier.

20. Question:

If you were to design your next three months as a “season of practice,” what would you commit to starting, finishing, or changing?

Author note:

The whole book points toward seasons rather than forever. This question is an on‑ramp: name one practice, one boundary, or one experiment you’re willing to live with for a little while and see what grows.

Book Club Artist Theme Kit

Theme & Atmosphere

Theme name: “Be An Artist Night” or “Live Like An Artist Book Club.”

Vibe: Softly bohemian, studio-meets-salon, candlelight, simple still-life touches, nothing too perfect.

Decorations

• Table: White or kraft-paper table covering with jars of brushes, pencils, squares of paint swatches, and a few small paint tubes or watercolor pans as “centerpieces.”

• Color: Limited palette (e.g., pastels: blush, ochre, ink black or brights: hot pink or magenta, navy, and white) in napkins, candles, or a single small floral arrangement to feel intentional and painterly.

• Paper: Place a small blank card at each setting labeled “Today I’m drawn to…” for guests to jot a word, color, or feeling.

Food

• “Palette” board: A charcuterie or snack board arranged like a painter’s palette with arcs of cheeses, fruits, olives, nuts, chocolate “daubs” of color.

• Simple “studio supper”:

• A good baguette or rustic bread with olive oil and flaky salt.

• One beautiful salad (herbs, greens, soft cheese, something pink like radishes or berries).

• Optional: a simple pasta or flatbread as a warm anchor.

  Drinks

Signature sip:

• “Rose Wash”: chilled rosé or a pink mocktail (sparkling water, grapefruit juice, a splash of elderflower).

• “Ink & Tonic”: gin or zero-proof gin with tonic, lime, and a sprig of rosemary.

Non-alcoholic: Sparkling water in a carafe with citrus slices and herbs to keep the table feeling fresh and light.

Recommended Playlist

• Mood: Low, elegant, creative—music you could write or paint to.

• Spotify playlist: Be an Artist (or Just Live Like One)

• Search on your streaming service of choice: “Cozy jazz,” “elegant bossa nova,” or “smooth jazz for reading.”

• Search on your streaming service of choice: “Paris night jazz” or “noir jazz” for a slightly more mysterious, late-evening feel.

Invitation suggestion for hosts: “Come as you are, but bring one small thing that makes your life feel more like art: a color, an object, a song, or a story.”

Dear friends,

Confession: I am much more comfortable hiding behind my characters than talking about myself.

Fortunately (or unfortunately!), my mastermind partners are not having that.

They sat me down and asked the questions they said readers want answers to: what finally pushed me to finish The Gilded Talisman and The Roses of Ainsworth Manor, why so many of you are obsessed with Alexander, what I hope these stories change in your life, and what it’s like to write “luxurious romantic suspense.”

Here is that interview. Part craft talk, part love letter, part behind-the-scenes peek.

Let’s dive in.

Q: You’ve joked that you’re “the world’s greatest quitter,” yet you finished and published two novels. What finally tipped you from quitting to completing?

For most of my life, I treated my writing like a hobby I could abandon whenever I got busy, or writing got uncomfortable. I finished degrees and jobs and responsibilities for other people, but my dreams? Those I walked away from over and over. Finishing two novels was the moment I decided that writing was no longer optional “extra credit.” It was the life I was choosing.

What tipped it was grief and clarity arriving together. Life got very real, very quickly, and I realized I couldn’t keep waiting for the “right” season, I needed to just get it done. I wanted to look at a finished novel and say: I stayed. I saw it through. These books are proof to myself that I can hold a long, difficult, beautiful thread from beginning to end.

Was there a moment, working on The Gilded Talisman or The Roses of Ainsworth Manor, when you thought, This is impossible? What kept you going anyway?

There were many. The Gilded Talisman actually started as a fun travel blog about my own adventures. Friends read it and said, “I want to know what she does next,” which I thought was funny, because I had realized writing the first entry that there was no way I was going to continue writing about my life for all the world to see. So I decided to turn the real-life adventures into a novel. Somewhere around 20,000 words, when all the threads of the story—history, family secrets, romance, suspense—had to weave together, I remember thinking, “Who do you think you are, trying to do all this in one book?”

What kept me going was a combination of habit, stubbornness, and devotion to the characters. As an artist, I already knew what it was to push through the ugly middle of a painting, and that muscle helped. At 40,000 words, I cared too much about Maren and Alexander to leave them stranded in the middle of their story, and I created a private agreement with myself: this time, you don’t disappear when the writing gets difficult.

People sometimes say, “But you’ve been an army officer and a portrait artist. You obviously don’t just quit when things get hard.” The funny thing is that writing a novel exposes you in a way I did not expect, and never felt exposed in any other job. A portrait is of someone else. A military role has a clear structure and mission. In fiction, there is so much of me in these characters. My questions, my longings, my imaginings. Their thoughts are theirs, but they’re also mine, which makes staying the course both harder and more necessary.

What did you underestimate most about writing and publishing a novel, and what surprised you in a good way?

I underestimated how emotional the process of publishing would be. Writing is solitary. Day after day of plugging away alone; publishing is exposure. I didn’t realize how vulnerable it would feel to put something I love into an algorithmic marketplace that can bury it without a second thought. I also underestimated how technically complex it would be. There was a crazy amount to learn and figure out just to get the book into readers’ hands.

What surprised me in a good way was the intimacy with readers. People wrote with very personal messages about grief, love, and their own reinventions. I did not expect that. But connection with readers makes the vulnerability (and even the spreadsheets) worth it.

For readers new to your work, how would you describe The Gilded Talisman in one or two sentences?

The Gilded Talisman is an elegant romantic suspense about an art restorer, a cursed Ottoman jewel, and a formidable man whose loyalty is as dangerous as the enemies they face. It’s a novel meant to feel like slipping into a Dior gown on the Orient Express: beauty, tension, and love all threaded through a larger mystery and love story.

You’ve said you wanted the book to feel like “luxurious, atmospheric romantic suspense.” What kinds of readers did you have in mind as you wrote? Who did you secretly hope would fall in love with it?

I write the books I like to read but can’t find anymore. By the way, if anyone is thinking about writing a book, do it. That is a great reason. Just write what you would love to read yourself. I wrote it for readers like me who grew up on Victoria Holt, Mary Stewart, and Phyllis A. Whitney. This book is modern, but equally emotionally honest. My secret hope was to reach people, mostly women, who are a little tired of chaotic relationships and want to see a love story where manners and stability in a man are sexy.

I wanted the book to be for readers who crave glamour, travel, and lots of beautiful details, but who also want depth: grief handled seriously, faith and doubt, loyalty, moral choices, and a heroine who comes into her own power without losing her softness.

Is there a scene in The Gilded Talisman that still makes you emotional when you think about it? Why that one?

Oh gosh yes. There are several that I can’t give away in case someone reading this hasn’t read the book yet. But one scene I love is on the train when Maren wakes and sees Alexander sitting in the armchair, reading with his glasses on and bourbon in hand, watching over her in the fading light. That one still gets me. It’s not a big, dramatic moment, but it’s the emotional truth of the book: devotion expressed as presence, not grand declarations.

I love that she realizes as she watches him that she might be falling in love with a man whose real name she doesn’t even know yet. It’s tenderness and danger in one frame. That’s the heart of the whole book in a single scene. And I think most of us, secretly, want to love and be loved like that.

Alexander and Maren’s relationship is built on respect as much as passion. What do you hope readers take away about love from watching them?

I hope readers feel that real love can be both passionate and deeply safe. Love doesn’t have to be chaotic to be intense. Maren and Alexander argue, misunderstand each other, and face real danger, but underneath, there is this constant: he shows up, she grows, and they each choose the other again and again.

If there is a message, it’s that you are allowed to want a love that protects you as much as it awakens your heart.

Readers are obsessed with Alexander and often say, “I don’t know what it is, but I want some of that Alexander-ness for myself.” What do you think is at the core of his magnetism?

At the core of Alexander’s magnetism is that he is not available to everyone, but he is available to the few he chooses. He does not chase attention. His power comes from composure, competence, and self-possession.

People sense that he lives by an inner compass, not by other people’s approval. He’s a man with edges, history, and loyalties that predate you, but when he chooses you, he folds you into his world completely. That combination of mystery and unwavering commitment is very compelling.

You’ve talked about Alexander as a “magnetic modern gentleman” who lives inside a self-created code. What parts of that code do you personally find most aspirational?

I find it aspirational that he refuses to let anyone or anything own him. Not his temper, not his desires, not his past, not other people’s expectations. He feels intensely, but he doesn’t let his temporary emotions drive the car.

I also admire his commitment to do difficult, unglamorous things well: having hard conversations, standing between someone and danger, honoring promises even when they cost him. Those are not Instagrammable virtues, but they’re the ones that make a human being profoundly trustworthy. And a man very, very attractive.

If a woman wanted to live like Alexander, same composure, same boundaries, what would that look like in her day-to-day life?

It would look like a woman who moves more slowly than the culture insists we do. She would answer calls and texts when she’s ready. She’d say no warmly, but without apology. Her life would be graceful, and she wouldn’t explain herself to people who hadn’t earned that intimacy.

Internally, she would have a few non-negotiables, like how she treats herself every day, how she expects others to treat her who want to be in her circle, and what she will not sacrifice for approval or even love. Externally, people would describe her as calm, and a little bit mysterious. The people closest to her would know she is also fiercely loving and loyal.

How would you introduce The Roses of Ainsworth Manor to someone who just finished The Gilded Talisman and is looking for their next read?

If The Gilded Talisman is about a woman pulled into an international, high-stakes mystery, The Roses of Ainsworth Manor is about a woman rooted in one haunting house. Roses is thick with secrets, inherited wounds, and a love that grows in the shadow of all of it. Also it’s very funny, and there’s a dog.

The book has the same sense of elegance and emotional depth, but the focus happens closer to home: legacy, chosen family, old hurts, an interesting romance that asks, “Can we really begin again?”

What emotional itch does Roses scratch that’s a little different from Talisman, even though both are romantic and atmospheric?

Roses leans more into modern gothic and healing: for all of the characters, it’s about staying long enough in one place, both literal and emotional, to transform it, and themselves. Where Talisman is glamour, and trains and jewels and danger across borders, Roses is about the danger of trust, of letting someone see the parts of your life you’ve meticulously wallpapered over.

Readers who want the feeling of walking through a vast manor at dusk, opening doors that have been shut too long, and finding both ghosts and grace behind them will find that in Roses.

You’ve mentioned loving Victoria Holt, Phyllis A. Whitney, Danielle Steel, Barbara Michaels, Judith Krantz, and Mary Stewart. What did those authors give you that you’re consciously carrying forward into your own work?

Well first, they told a great story, and that is my first priority. They gave me permission to write a slow book. Today all of the advice to writers is to hook and reader and move at breakneck speed. I’m just not into that as a reader. Or, let’s put it this way. I like those books sometimes, but I read to escape and explore and sink into a world the author creates, not go on a rollercoaster ride. Romantic suspense of the past took its time, and those writers built the story as a world. Those writers also take women’s inner lives seriously while giving them couture gowns, castles, glittering parties, and dangerous men. They showed me that you can have atmosphere and glamour and real emotional stakes in the same story.

From them, I’m carrying forward: the sense of place as a character; the idea that romance can coexist with ambition, mystery, and moral complexity; and the insistence that heroines can be feminine, flawed, intelligent, and brave without having to choose one.

What about sex?

(Laughs) Look, I have no problem writing about sex. People have it. It is what it is. The issue I have with contemporary romance novels is that, basically, it’s boring.

Imagine slamming the breaks on the plot and writing an entire excruciatingly detailed chapter about washing dishes. I mean, who cares? For me the story always comes first. I suppose if graphic, play-by-play descriptions somehow added value to the plot, then okay I’d write them, but I cannot think of a single novel where they do. It is jarring, and ends up hijacking the book. Afterwards, somehow everyone has to get their clothes on and back into the flow of the plot. It’s one thing I’m not crazy about in the books of one of my favorite authors. I find myself thinking, okaaay, got it, now can you get back to the story?

You’re known for elegant dialogue and slow-burn tension. When you sit down to write a scene between Maren and Alexander, what are you paying attention to first: the words, the subtext, or the atmosphere?

Subtext comes first: what each of them is not saying but wants or fears. Then atmosphere: where are they, what are they wearing, what does the light look like, what’s on the table between them. Finally, the words.

With Maren and Alexander especially, so much is said in the subtlety—what hangs in the air after a line, or in the way he stands, or the way she looks away. The dialogue has to feel like the tip of an iceberg. Elegant, controlled, but below the surface there’s history, longing, and danger. As readers come to trust my work, they will understand that not one thing happens, or is said (or not said) randomly. Everything in every scene means something to the story, so you have to pay attention when you’re reading. As a writer, I have a handle on every detail, and my promise to the reader is that I won’t let them down. For me, that is what makes a book by a good writer fun to read.

What is one reader message or comment about The Gilded Talisman that has stayed with you?

A reader wrote to say that she’d been through a very chaotic relationship and had lowered her standards without realizing it. She told me that watching Alexander and Maren’s growth “reset” something in her, and suddenly felt it was not only okay but necessary to want a love that was honorable.

That message made me cry. If a story can alter even one person’s sense of what is possible in life and acceptable in love, that feels like holy ground.

One reviewer said the book motivated them to take better care of the relationships that are important to them, which is just about the highest compliment I can imagine, if the story made them look up from the pages and think, ‘Who do I need to cherish more intentionally?’

I’ve also been surprised in the best way by how many men have read The Gilded Talisman and loved it. Several have written to say they see parts of themselves in Alexander, or that the book made them think differently about how they show up in love and loyalty. That wasn’t something I expected, and it means a great deal.

What do you hope a reader feels in their body as they read your books—what kind of escape or transformation are you trying to offer?

I want readers to feel both soothed and electrified. Soothed by the sense of being in capable hands in a beautiful world with Paris hotels, luxurious trains, manor houses, and couture Dior, and electrified by the emotional honesty and suspense: heart racing a little, breath catching, tears prickling at unexpected moments.

On a deeper level, I hope they finish feeling more protective of their own hearts, more interested in elegance (inside and out), and more convinced that they are allowed to want both safety and passion in the same relationship.

If your reader community could walk away with one change in how they see themselves or love, after reading your work and doing the Alexander workshop on Substack, what would you want that to be?

I would love for them to walk away with a very solid conviction: I am allowed to build a life and relationships that are deliberate, beautiful, and whole. Not reactive, not apologetic, not dictated by algorithm or mayhem, but chosen. If my characters can step into that, then maybe the stories can help readers design their own version: a self-created life with elegance, boundaries, and a brave, steady heart at the center.

Tasked by the enigmatic Marquise de Saint-Clair to recover Roxelana, a priceless Ottoman talisman necklace, Maren’s journey becomes a race between protectors of the Talisman’s legacy and ruthless rivals who will stop at nothing to seize its power. Her quest leads her onto the legendary Orient Express, where luxury conceals danger and every passenger hides secrets. Designer fashions, opulent mansions, snowy sleigh rides, and glittering ballrooms make for a novel as beautiful as it is thrilling.

A lush, atmospheric romantic suspense about legacy, reinvention, and the power of love. A richly immersive story for lovers of classic slow burn romance.

Complicating her mission is a devastatingly handsome, impossibly wealthy aristocrat tied to the Talisman’s dark history in ways he refuses to admit. As sparks fly and trust wavers, Maren must decide if he is friend or foe. Betrayal and heartbreak threaten everything, as centuries-old loyalties and ambitions place her and those she loves in the crosshairs. Woven throughout is a nuanced story of reinvention and transformation, as Maren navigates mysteries across Europe, and in her own life.

Readers looking for a romance novel with well-developed, multi-faceted characters, thought-provoking themes, and a believable, slow-burn relationship will love The Gilded Talisman.

Perfect for fans of Kate Morton, Beatriz Williams, Natasha Lester, Sandra Brown, Nora Roberts, Jayne Ann Krentz, Mary Clark, Victoria Holt, Phyllis A. Whitney, Danielle Steel, and Judith Krantz.

Read it now on Amazon

The Roses of Ainsworth Manor

ROMANCE, RIDDLES AND RIFLE FIRE AWAIT IN THE ROSES OF AINSWORTH MANOR

Most women don’t receive cryptic letters in French-sealed in wax and delivered on fog-drenched Tuesday mornings, but then again, most women aren’t Nell Ainsworth, 9th Duchess of Belward: reluctant aristocrat, bestselling novelist, owner of a historic Georgian estate with gardens in genteel disrepair, and lifelong connoisseur of locked doors and unfinished stories.

The envelope was a special delivery. Now it’s on a massive silver mail tray in the Great Hall of Ainsworth Manor, wedged between a gas bill and a rather needlessly aggressive missive from the Historical Horticultural Society regarding the condition of her hedgerows. The handwriting is sharp, slanted, and is somehow watching her. It also smells faintly of tobacco and lavender-ghostly perfume from someone long dead... or very dangerous.

She didn’t open it right away.

Instead, she did what any self-respecting woman with too many Instagram followers and not enough caffeine would do: she dropped the letter on the silver tray in the entry hall, poured herself a third cup of strong French Roast, and summoned Henry with a single, imperious-and entirely unnecessary-ring of the library bell.

Henry Templeton and Roger arrived exactly forty-three seconds later, wearing an expression of long-suffering patience and mild curiosity.

I assume, my lady, this is either the beginning of a very inconvenient treasure hunt or someone has challenged you to a duel. Henry’s eyes lingered on the unopened letter. God forbid it’s both.

A SHARP, WITTY, AND HEART RACING ADVENTURE

Nell Ainsworth is not your typical noblewoman. A successful-if reclusive-romance novelist living in the ivy-clad halls of Ainsworth Manor, the Historic Georgian estate she unexpectedly inherited, along with a somber German Shepherd named Roger. Nell prefers the company of fictional rogues and literary dukes to the predictable socialites of modern-day England. But her quiet life of plotting love stories while avoiding the real thing turns upside down when a mysteriously coded letter from the continent hints at long-buried family secrets involving lost treasure, betrayal, and a
centuries-old vendetta.

Enter Henry Templeton: former MI5 desk analyst turned reluctant valet after a very public scandal cost him his career and his reputation. When the new duchess, in dire need of someone capable (and discrete), spots his quietly efficient resume in a stack of applicants for the broad position of valet, personal assistant, handyman, and occasional crisis manager, she hires him on the spot-though his loyalty comes with a healthy dose of sarcasm and an eyebrow permanently raised.

Together, they uncover a trail of cryptic clues, dating back to Napoleonic times, that sends them on a wild chase across windswept moors, shadowy libraries, and glamorous balls.

As danger circles closer, Nell must step from behind her pen and face a story far more thrilling-and threatening-than any she’s ever written. In the process, she and Henry will be forced to confront not just the secrets of Ainsworth’s past, but their own guarded hearts.

Perfect for fans of Sophie Kinsella, Rhys Bowen, Mimi Matthews, Tessa Dare, Evie Dunmore, Mary Higgins Clark, and Susanna Kearsley.

Discover it Here.

You’re welcome to use these prompts on your own or with a book club, to explore the characters, settings, and themes that shaped this story. The Author Notes are drawn from the private pages I kept while writing—fragments of research, behind-the-scenes details, and the moments that surprised me on the page.

With gratitude,

Nina Gates

FRIENDLY SPOILER ALERT- If you don’t want to know how it ends, read no further.

Q: Two prominent themes in the novel are the power of saying yes and that a single decision can change a life. Do you believe that’s true? How do these themes apply to Maren’s journey?

Author Insight: For Maren, her story begins with a literal “yes” responding to her father’s message and traveling to Venice. Each critical step in her journey comes from her willingness to step out of her comfort zone and choose the uncertain path. By saying yes, she doesn’t just unravel the mystery; she also invites new love, friendship, and growth into her life. Maren’s experience affirms that one decision can change everything, not because it magically solves all problems, but because it unlocks the possibility of growth and opportunity.

Q: One theme that weaves through the book is the idea from the poet Rumi, that “what you seek is seeking you.” Do you believe that’s true? How do you think this idea is reflected in the plot and the characters’ journeys?

Author Notes: Throughout the novel, both plot and character arcs embody this concept: Maren searches for closure, and a sense of belonging, but in the process, she discovers those things are also searching for her—through unexpected allies, the unraveling of family secrets, and even love. The motif appears literally, as with the map and clues that seem tailored for Maren, and metaphorically, as characters repeatedly encounter the person or knowledge they most need just as they’re ready to receive it. Ultimately, for Maren and Alexander, what they’re truly seeking is self-acceptance and genuine connection, and those arrive only when they have the courage to be vulnerable and open to possibility. The theme reminds us that the journey is reciprocal: our desires and questions shape the world around us, and if we’re open to saying “yes” to life, we just might find that what we’ve been looking for is already making its way toward us.

Q: Lucien is an interesting character. How do you think he became the way he is?

Author Notes: Lucien is an elegant person. He displays impeccable manners beneath cynicism and is fluent in old-world behaviour. traits typically forged through an elite education, frequent travel, and distance from ordinary domestic life. When I imagined him, I imagined he’s worked on both sides of the law: as a protector, a rival, and one who understands the world’s gray areas. Lucien hints at betrayals, missed opportunities, and the necessity of self-reliance (“the people who help you are the only ones who matter… The rest? Filler. Packing peanuts.”). His attitude emerges from an early betrayal or foundational relationships where trust was broken, especially in childhood or young adulthood, prompting emotional reserve and strategic detachment. His places distance, not necessarily physical, but definitely emotional, between himself and others. He never offers more than people “deserve” to know. He learned lessons the hard way: trust is earned, not given, and often disappointed.

Q: What is it about Maren that seems to soften Lucien’s cynicism, and attracts him to her?

Author Notes:

• Authenticity and Vulnerability: Maren is open about her uncertainties, losses, and desires. She doesn’t posture or play games, which stands in stark contrast to the guarded, world-weary figures Lucien is accustomed to. Her honesty invites him to drop his own defenses, at least for moments.

• Adaptive Strength: She is resilient and willing to reinvent herself. Lucien observes this as Maren tries on new identities, admits when she’s misjudged, and grows in self-awareness and confidence. That quality earns his genuine respect and sparks his curiosity, as it’s something he admires but perhaps struggles to access in himself.

• Intelligence and Curiosity: She approaches the world and her quest not with a hunger for power, but with curiosity, thoughtfulness, and care. Lucien responds to people who seek knowledge for its own sake; Maren’s desire to solve the mysteries of the parure is motivated not by greed but by understanding and even love.

• Wit and Playfulness: She can banter, laugh at herself, and meet Lucien’s playful remarks with her own, creating a rare sense of equality and chemistry. He’s challenged (and delighted) by her willingness to trade stories and explore ideas, rather than simply react or retreat.

• Capacity for Trust and Forgiveness: Despite her wounds, Maren is willing to seek help, to offer trust (even cautiously), and to recognize the humanity in others—including Lucien. This quality is unfamiliar to a man used to cynicism and betrayal, making her presence disarming and hopeful.

How Maren Softens Lucien’s Cynicism

Maren represents for Lucien a chance at authentic connection and a reminder of what is worth protecting: truth, love, and the strength to endure loss. She navigates shadows without losing her sense of self or joy. For Lucien, her optimism and willingness to believe in what endures under adversity speak as a quiet challenge to his detachment, suggesting that even in a world of secrets, beauty and meaning persist for those willing to risk openness.

Q: For Maren, putting the ring into the vault at the end, after developing such a unique relationship with it was a significant moment. What does this reveal about her character growth throughout the story?

Author Notes: Placing the ring in the vault marks Maren’s realization that she no longer needs it as a crutch or guide. Earlier in the story, she relied on the ring’s presence or vibrations to affirm her instincts about people and events, sometimes longing for it to give her more specific advice, like in the Budapest bathtub scene, where she wishes it would “speak in complete sentences.” By the end of the book, Maren understands that perhaps the actual power of the ring is not that it guides her, but that it encourages the wearer to trust her own judgment, emotions, and intuition. Letting go of the ring signifies her newfound confidence and independence—she’s ready to trust herself, rather than depend on a talisman for direction.

Q: The story opens with Maren’s father sending a cryptic message from Venice. How does this inciting incident shape the events that follow?

Author Notes: The message is both a call to adventure and a puzzle—its ambiguity propels Maren into action, forces her to revisit her relationship with her mother and her late father, and sets the tone for the novel’s blend of mystery, grief, determination and reinvention.

Q: Why did the author choose to make the talisman a parure (a set of jewels) rather than a single object?

Author Notes: A parure allows for multiple layers of mystery and a sense of history passed through many hands. It gives the quest scope and lets various characters possess or lose different pieces, making the chase more complex and emotionally charged.

Q: The Orient Express journey features shifting alliances and hidden agendas. How did the author use this setting to advance the plot?

Author Notes: The train provides both glamour and confinement, forcing characters into close quarters where secrets can’t stay hidden long. Each stop and passage creates new revelations, betrayals, and moments of vulnerability.

Q: Every character in the novel lies or withholds information from Maren. What are some of these instances? How do these deceptions drive the suspense, as well as Maren’s evolution as a character?

Author Notes: Every lie or half-truth raises the stakes and keeps Maren and the reader guessing about each character’s real intentions. Each character, like real life, has their own reasons that are plausible. It also underscores the realistic theme that perception and reality often diverge between people experiencing the same events, especially in matters of the heart.

Q: The ball in Istanbul is a major turning point. How was it significant to both the plot and character arcs? How do the ball and the escape effect Alexander and Maren’s relationship?

Author Notes: The ball is where glamour and danger collide. Relationships are revealed, betrayals unfold, and Maren is forced to choose whom to trust. It’s a staged, beautiful event masking deeper currents, much like the plot as a whole. Both events allow Maren and Alexander to “try out” this new relationship under unique, sometimes stressful circumstances.

Q: The coded maps and riddles left by Maren’s father form a subplot. What role do these mysteries play in her journey?

AuthorNotes: They force Maren to use and, just as important, trust her own skills, be observant, undefined judgement, think critically, as well as confront emotional truths tied to her parents. The mystery isn’t just external, but threaded through her identity and family legacy.

Q: Why do you think the author chose to make Maren and art restoration expert? What contrast does her character have with Alexander’s cool financier character?

Author Notes: The choice of Maren Bennett as an art restoration expert was an intentional thematic choice.

• The Professional Mirror: Maren’s job is to look past the surface, remove the grime of age, and fix the “cracks” in beautiful things. She is professionally trained to see the value beneath the “varnish” which is exactly what Alexander’s manners are.

• The Emotional Heat: If Alexander is the “Ice” (steady, unmoving, perfectly structured), Maren is the “Thaw.” Her openness acts as a solvent to his rigid code.

Q: Why did the author weave in historical elements about Ottoman jewels, the Silk Road, and Venice’s ties to Istanbul?

Author Notes: It grounds the plot in authentic details, making the stakes feel real and giving the story a sense of layered time and cultural complexity. These ties allow for a richer narrative tapestry and deeper thematic resonance. Plus, it’s interesting.

Q: How did the author balance action sequences (such as thefts, chases, and confrontations) with quieter moments of introspection?

Author Notes: I structured the plot to alternate suspense and reflection. After each thrilling or dangerous moment, Maren is allowed to process, making her choices feel more lived-in and her growth more believable.

Q: The novel’s ending leaves some threads open. Why do you think the author did that? Did she intend for ambiguity, or is there more to the story?

Author Notes: Some mysteries are left unresolved to reflect real life and to give readers room for their own interpretations. For Maren, who has a tremendous urge to figure things out and solve mysteries, she realizes that not every mystery needs to be solved. Sometimes she can just exist within it. I wanted to end on a note of hope and new beginnings, but also with the sense that Maren’s story and the Talisman’s secrets could continue.

Q: How does Maren’s initial decision to walk away from Alexander in the Saint Mark’s Square scene reflect major personal growth on her part?

Author Notes: I love this scene. Maren’s choice to walk away from Alexander is a turning point for her. Instead of clinging to the hope of romance or letting her feelings dictate her actions, she chooses self-respect and emotional honesty with both Alexander and herself. For much of her life, Maren has sought validation and belonging through others; in this moment, she asserts her own boundaries and chooses not to compromise her integrity, even though it’s painful. This act of letting go shows real growth. She’s willing to face loneliness and uncertainty rather than lose herself or ignore her instincts. Ultimately, her willingness to let go of control opens the door for a more authentic and equal relationship later in the story. It gives Alexander the opportunity to come forward.

Q: Many romance novels end once the characters get together, but The Gilded Talisman continues for several chapters after Maren and Alexander become a couple. Why do you think the author did this, and did it enhance your experience of the story?

Author Notes: Continuing the story after Maren and Alexander unite was deliberate. I wanted readers to experience not just the formation of a relationship, but how love matures when tested by adversity and the unknown. It’s even more fun for the reader because it’s like getting two books in one. Just when you think the emotional arc is resolved, the story shifts and the couple must now unravel new challenges together. This gives readers the satisfaction of both a romance and an evolving partnership, letting them see how trust, teamwork, and love can grow stronger through real trials long after the “happily ever after” moment.

Q: What are the details that make “pleasure as default” feel baked into life in some chapters, especially the Paris sections, rather than tacked on “because they’re rich?”

Author Notes: On the page, I wanted the details to show that Alexander and Madame Girard’s world in particular, is built around deliberate, sensory richness, such as sight, scent, touch, taste, and small rituals. Part of Maren’s transformation is thinking that they “wring every drop of taste and texture from the present,” and how she might be able to do that in her own life. I also wanted the observations to feel earned and thematic, not myopic. Some specific ideas I used were:

Curated arrivals:

• Black Rolls‑Royce Phantom gliding into a jasmine‑scented courtyard; engraved monogram on the Art Nouveau gate; a silver‑haired chauffeur with a tiny embroidered sunburst on his lapel.

Floral excess as everyday beauty:

• Tall blue‑and‑white jar overflowing with out‑of‑season roses, lilacs, lemon branches, and tuberose in the entry hall, perfuming the air over beeswax and stone.

Rooms designed to be savored:

• Pale blue and gold salons; silk taffeta curtains pooling like ball gowns; gilded moldings; Palladian windows with four bergère chairs “keeping watch” over the garden; Aubusson‑style carpets with rosebuds and ribbons; a canopy bed veiled in pale blue silk.

Ritualized food and drink:

• Antique sterling tea set gleaming on a tray; Sèvres cups with bergamot‑scented tea; Limoges coffee pot sprinkled with rosebuds, French roast, croissants, and a small bouquet brought on a silver tray as a matter of course.

Clothing as experience, not just status:

• Dior atelier scenes where Maren runs her fingers over cashmere, velvet, and embroidered tulle; the Bar jacket that changes her posture; fittings with champagne and careful pinning around her body.

Invisible orchestration:

• At Le Bristol, every need anticipated, Dior selections tailored and hung like a boutique, lingerie wrapped in lavender tissue, jewelry and luggage laid out—luxury as a seamless background rather than a big “ta‑da.”

Further Discussion

• What was your overall impression of the book?

• Did you enjoy the book? Why or why not?

• How would you describe this book in one sentence?

• Were the characters believable, and what motivated them?

• In what ways does Simone weaponize her knowledge about Alexander?

• How does Alexander’s willingness to talk about Simone with Maren and his mother reflect a change in him?

• What about the relationship between Mathilde and Xavier? Did you suspect early on that he had made the necklace? Were you surprised by their relationship?

• Light and darkness appear frequently—from the inscriptions on the parure, to the eclipse, to hidden tunnels to brilliant revelations. How does this motif reflect the characters’ emotional journey?

• The novel explores the tension between preserving artifacts and keeping them accessible to the public. How should society balance protection with sharing cultural treasures?

• Did the book make you feel any particular emotions?

• Can you connect any of the characters in the story to your own life experiences?

• How did the settings contribute to the story?

• If you could change one thing about the book, what would it be and why?

• The novel suggests that “love makes things endure.” How do different kinds of love—romantic, familial, between friends, and cultural—manifest in the story?

• What does Maren’s expertise in art restoration bring to the story beyond plot convenience? What does it tell you about her personality?

• How does the novel portray the relationship between past and present? Are the characters prisoners of history or empowered by it?

• How do clothes play a part in the novel? How does Maren’s changing personal style reflect her changing ideas?

• What does the story suggest about courage? How do different characters show bravery in their own ways?

• If you discovered a legendary artifact with mystical properties, what would you do? How do you think the characters’ final decisions about the parure reflect their values and growth?

• Often the very traits we see as neutral or ordinary in ourselves are the ones that set us apart—quirks, intellect, kindness, authenticity, etc. What traits have you been surprised to learn that others admire, or consider a strength of yours?

The Gilded Talisman Book Club Kit

Welcome to the world of The Gilded Talisman—a romantic suspense of art, love, adventure, and second chances, unfolding across Venice, Paris, the legendary Orient Express train, and Istanbul, as art restorer Maren Bennett is drawn into the mystery of a legendary Ottoman talisman.

This kit gives your group everything you need to host an immersive, conversation‑rich meeting:

• Atmosphere ideas (décor, dress, music)

• Themed food and drinks

• Discussion questions

• Optional activities and reflection prompts

Use all of it or mix and match to fit your group.

1. How to use this guide

Suggested flow for a 90–120 minute meeting:

• 10–15 minutes: arrivals, drinks, and settling into the atmosphere

• 45–60 minutes: discussion questions

• 15–30 minutes: a themed activity or “one big question” round

• Final 10–15 minutes: closing thoughts + favorite scenes or quotes

You’re welcome to split the questions over two meetings if you’d like to read and discuss the book in halves (for example, “up through Paris” for one meeting, and “Istanbul and the ball” for another).

2. Setting the scene

You can lean into one location, or treat your evening like a journey with “stops” along the way.

Option A: Venice – City of Masks

Evokes: fog, mosaics, secrets, beginnings.

• Dim the lights; use candles or warm fairy lights in glass jars to echo lamplight on the canals.

• Add blue and teal accents (napkins, glassware, vases) as a nod to the mosaic river in St. Mark’s and Maren’s lapis ring.

• If you like props, set one Venetian mask or simple black masquerade mask on the table.

Option B: Paris – Salons, couture, & reinvention

Evokes: Dior, transformation, salons, and Maren’s quiet coming‑into‑her‑own.

• Use a white or cream cloth with one lush centerpiece: roses, greenery, or any florist’s bouquet that feels full and a bit decadent.

• Add a couple of gold or brass candlesticks and your prettiest glasses or teacups.

• Create a tiny “couture corner”: a perfume bottle, silk scarf, string of pearls, or lipstick as a visual echo of the Dior scenes.

Option C: Orient Express & Istanbul – travel & talisman

Evokes: train glamour, Ottoman jewelry, the hunt for the Talisman.

• Run a long table runner in navy, deep green, or burgundy down the center like a train track.

• Scatter a few “jewel” details: faux gem table scatter, a vintage‑looking map, postcards, or a single statement necklace displayed like the Talisman.

• A small brass bowl, lantern, or candleholder brings in a hint of Istanbul.

3. Music suggestions

Create a playlist called something like “Sapphire Nights & Golden Mornings – A Gilded Talisman Playlist.” The pre-made Gilded Talisman Playlist is available on Spotify.

OR/You can search for existing playlists with these moods or build your own:

• Venice / early chapters

• Classical or cinematic instrumentals

• Soft piano or ambient “Venice at night” playlists

• Paris / Dior & salons

• French café jazz

• Classic or modern French vocal jazz and chanson

• Orient Express

• 1920s–30s jazz standards

• Instrumental swing and piano bar music

• Istanbul / talisman

• Instrumental Middle Eastern / Mediterranean fusion

• Cinematic “Silk Road”–style soundtracks

Play on low volume so conversation stays central.

4. Food & drink

Choose one tier, or pull one item from each “city station.”

Simple bites (easy & flexible)

• Good crusty bread or baguette with butter or olive oil.

• A cheese board: one soft cheese (brie/camembert), one firm cheese, plus olives and grapes or figs.

• Chocolate: truffles, dark chocolate squares, or chocolate‑dipped cookies.

Elevated “city stations”

Venice

• Crostini with toppings like: Olive tapenade, Ricotta with honey and cracked pepper

• Prosecco or sparkling water with lemon twist.

Paris

• Quiche, savory tart, or a simple roast chicken with a green salad.

• Dessert: macarons, eclairs, or pain au chocolat.

Orient Express & Istanbul

• Mezze‑style platter: hummus, baba ghanoush, stuffed grape leaves, pita bread.

• Dessert: Turkish delight, baklava, or honey‑soaked pastries.

• Drinks: black tea in glass cups or strong coffee.

Signature drinks

Non‑alcoholic and alcoholic versions both work.

“Midnight Blue” (sparkling & moody)

Sparkling water or Prosecco

Splash of blueberry or blackcurrant syrup

Lemon twist

“The Talisman” (simple, strong)

Whiskey or bourbon over a single large ice cube with an orange peel

For a mocktail: iced black tea + a little apple juice + orange peel

5. Discussion questions

Use as many as you like; you can also invite each member to pick one that resonates most. (See Above)

6. Optional activities

These are totally optional; they can be a fun way to close your meeting.

Activity 1: One “Yes” away

Prompt:

“Sometimes we only discover what we’re capable of when we step into the unknown.”

Invite each person to share either:

• One “yes” in their past that changed their life’s direction, or

• One “yes” they’re considering now (big or small).

You can go around the circle, or let people write a sentence or two on slips of paper and read them anonymously.

Activity 2: Travel map of the story

Print or sketch a simple line map: Venice → Orient Express → Paris → Istanbul.

Give everyone a few sticky notes or index cards.

Ask them to write:

• A favorite scene,

• A line or moment that stuck with them, or

• A question they had.

Place each note at the “stop” it belongs to and walk through the journey together briefly.

Activity 3: Favorite line & why

• Ask each member to bring one favorite line or short passage (no more than 2–3 sentences).

• Go around and read them aloud, each person sharing why that line resonated—whether it was a feeling of being seen, a romantic moment, or a vivid image.

7. Author & where to find the book

About the author

Nina Gates writes romantic suspense that blends emotional depth, glamorous settings, and the kinds of love stories that change the way characters see themselves. The Gilded Talisman follows art restorer Maren Bennett from fog‑draped Venice to luminous Paris, the Orient Express, and Istanbul as she confronts grief, legacy, and the possibility of a different kind of love.