This page is here to help you make choices about your reading in a way that works for you. After all, we’re not always in the mood to read a particular kind of story or focus, for all sorts of reasons.
On the other hand, if you’re wondering if I’ve written a book that deals with a particular thing, this page is here to help with that too.
These content notes provide some additional specifics about what’s going on in my books that isn’t always in the book’s description. These do include some implied spoilers for plot elements.
If you’d rather not be spoiled, but want to know if something is an issue in my books, you are always welcome to write to me and ask about your specific concerns. The fastest way to reach me is through the contact form.
Expect a happy ending. All my books have a happily ever after ending, with the couple continuing on together. No cliffhangers, though characters may appear in other books in the series, or other books may fill in some background details.
All of my books have at least one character who lives with some kind of physical, mental, or social difficulty or disability that causes them some problem in the larger world. Some are also continuing to deal with traumatic events of the Great War in various ways.
In the notes below, I’m using our modern terms, but the characters may refer to them or think about them rather differently. The author’s note for the relevant book talks about why that is as relevant. I’m always glad to send the author’s note along in an email if you’d like to read that first.
The amount of on-page sex varies. In most of my books, there are one or two scenes, relevant to the plot and how the characters learn about and love each other. A couple of my books have more, two (to date) have none, which is noted in the description as “no on-page sex”.
None of my books focus on sexual assault or abuse, nor are there scenes focusing on it but it is the 1920s, and it’s a thing a number of my characters think about or have some concerns about at different times.
Book by book
Brief references to and ongoing implications of family deaths in the 1918 flu pandemic as well as in the Great War. Post-traumatic stress disorder including flashbacks. Kidnapping and implied violence. Death of minor characters (off screen).
Post-traumatic stress disorder including disassociation. Addictive magical drink that causes dreams of distant places. Miscommunication leading to emotional difficulties. Secondary character who has survived tuberculosis.
Anglo-Egyptian main character who deals with bias and some (mostly implied) bigotry. Discussion of widowhood. Threats of violence. A stigmatised magical ability and the implications of keeping it secret. Secondary character who is African-American, and another who is of mixed background.
Hero was blinded during the War by magical gas. Vulnerabilities of relying on others for certain tasks (especially financial). Class and gender issues when dealing with people of higher status.
Main character survived tuberculosis, but spent a decade in and out of sanitaria, including surgical treatments, all of which is referenced. A murder (of someone rather unpleasant, discussion of the method as part of the book). A secondary character has major facial injuries from the War. Class issues. Discussion of past addiction (due to the events of Goblin Fruit).
Autistic hero. Cock-fighting (not described in detail, but includes a character getting injured). Treason (stealing swans). Criminal acts leading to a dangerous and potentially lethal attack on a secondary character.
Autistic hero. Attitudes of immortal or extremely-long-lived beings being rather different than ours. Secrets kept by a main character. Secondary character who is deaf and relies on sign language (she would not self-identify as part of Deaf culture). No on-page sex.
Set in 1915, early in the Great War: multiple discussions (non-graphic) of injuries, new kinds of injuries, and other implications of the war. Hero was injured in the First Battle of Ypres in late 1914, the heroine has had a traumatic brain injury and continuing migraines. Both are new to dealing with these issues. Various attitudes of healers and nursing staff, some of whom are much more helpful than others. No on-page sex.
Heroine was born in London to Bengali parents, orphaned at 8 and grew up largely disconnected from her culture. Her apprenticeship took place largely within the London Jewish community in Spitalfields. Hero comes from significant social privilege, has what we’d identify as ADHD, and suffered a life-changing injury (not in the Great War). Discussion of other War deaths and injuries. Some bias from others on the basis of background and presumed orientation.
Hero served in the Great War, with lasting curse damage and deep regrets about some of the actions he took (not described in detail). Issues of class, particularly around what family background, and privilege mean for education and opportunity. Academic politics, including an unpleasant faculty meeting. Friends to lovers trope.
Charms of Albion
Arranged marriage to lovers trope. Main character dealing with what we would call fibromyalgia (and they called fibrositis). Main character who is part of the Guard, Albion’s equivalent of a police force (among other things) and ongoing discussion of his current work and duties. Duelling. Secondary character who is an amputee due to war injuries.
Main character is a healer: discussion of her work (without extensive medical detail) throughout. A secondary character is a widower whose much-loved wife died in childbirth. Nasty gossip and references to bigotry about characters who are not entirely human, or do not fit neatly into societal expectations.