Why I Set Bellefond in Saint Lucia
Why I set my new crime series in Saint Lucia — not a postcard but a place that argues with itself. The light, the language, and a bay with two economies.
Behind the scenes with Elara Kincaid — research trips, character notes, cut scenes, and how each romance actually gets written.
Why I set my new crime series in Saint Lucia — not a postcard but a place that argues with itself. The light, the language, and a bay with two economies.
Behind the nine-novel Fractured Dynasty saga sits a world I drew before Adeline ever stepped into a ballroom. Elendale, the Twilight Folk, the Seven Seals, the soul-bond rule I locked down before book one — opened up for paid readers.
I get more letters about Nyx than any other character I have ever written. Her birth name, the chess games at seven, what her mother actually was, the Copper backstory she gave Declan, and the question I left her with on the last page of Unbroken.
You have not met Séraphine Toussaint yet. A St. Lucian journalist who came home to bury her sister and stayed to find out who really put her in the ground.
I wrote a crime novel. Bellefond is an island noir set in Saint Lucia, and here is why a romance writer walked toward the dark, and what carries over.
The reference readers have been asking me for since book three. Twenty-two years of in-world chronology, the Stormborn dynastic chart across three generations, and the regional map walked through location by location — print this if you reread.
I started Fallen Hearts in a bad winter. The honest answer to what the series is actually about — the question I have been afraid of in my own life, why the kingdom ends in democracy, and why the slow burn was a discipline rather than a choice.
Meet Séraphine Toussaint and Bellefond, my new Caribbean dark thriller. Book one, Saltwater, lands October 6, 2026. Here is how to follow the launch.
The epic fantasy romance where my warrior queen wins the war by refusing to fight it — the behind-the-book story of Iron and Flame, book three of Fallen Hearts.
I outline a whole romance novel in one afternoon, with a spreadsheet and a label maker. Then my characters spend four months gloriously ignoring the plan.
There is a letter that exists in two of my drafting folders and nowhere else in the world. Cut from the close of Iron and Flame. Aria, age forty-one, writing to her cousin in the monastery on the twelfth night after treaty — asking, in writing, for permission to be tired.
I get more letters about Darius than any other character. Where does the mask come from. Did he and Aria really love each other. The dossier I keep at the back of my drafting folder — the one with his birth name, the West Wing, and the manuscript he wrote his children.