British Roots, Canadian Inspiration, and the Power of Storytelling
Caroline McIntosh discusses her award-winning storytelling, blending fantasy with emotional depth, British influences, and the transformative power of love in her imaginative narratives, offering readers journeys of self-discovery and wonder.
Caroline McIntosh is a literary force to be reckoned with, seamlessly blending the ordinary with the extraordinary in her enchanting tales. An award-winning author, Caroline has captivated readers with her ability to explore the multifaceted nature of love, whether it be in the mundane moments of everyday life or the magical realms of fantasy. Her work, including the acclaimed The Wounds No One Sees—written under the pseudonym Devon Bath—has earned her a Red Ribbon award from The Wishing Shelf Book Awards, a testament to her storytelling prowess. Drawing inspiration from her British roots and her life in Canada, Caroline crafts narratives that are as imaginative as they are heartfelt, inviting readers to embark on journeys of transformation and self-discovery.
In this exclusive interview for Reader’s House Magazine, Caroline delves into the themes that define her work, from the whimsical elements of fantasy to the emotional depth of her characters’ personal journeys. She shares insights into her creative process, the influence of her upbringing in southern England, and the significance of writing under a pseudonym. Caroline’s stories remind us that love, in all its messy, scary, and awkward glory, is a powerful force that can be found in the most unexpected places. Join us as we explore the mind of an author who believes in the wondrous qualities of love and the boundless possibilities of imagination.
Your work often explores the idea that love is present in both the mundane and the magical. How do you weave this theme into your stories, and what role does imagination play in expressing these aspects of love?
I weave love in the mundane and magical aspects of my stories while considering the definition of love, a great feeling of affection, or liking something very much. In my books, characters might talk too much when they feel that emotion. Sometimes, they get so headstrong and persistent that they forget what they are doing, or they might simply reach out and touch the other person to show they feel something for the other person.
What role does the imagination have in expressing these aspects of love? My stories are imaginative and push the boundaries of fiction. In one story, a parent gives a child his kidney to save his life. This would not happen in medical terms. In another story, a vampire wants to become human again, and he questions his friendship with best friend, ultimately saving his friend’s life.
In A Sparkling Love, Abigail returns to the bookshop’s enchanted chair to help plan a royal wedding. How do you balance the whimsical elements of fantasy with the emotional depth of your characters’ personal journeys?
I balance the whimsical elements of fantasy with the depth of emotions through the story structure. Story structure in romance is key to the reader’s enjoyment. There are several expectations – or beats – which the romance reader will expect. If they aren’t in a romance story, it can be a disappointing read. I have found Gwen Hayes’s Romancing the Beat a wonderful resource for designing my stories.
I often ask where the fun is and how can I use this for the character to grow? I never want to forget the joy of travelling to another place and having a transformation of some kind.
You’ve won a Red Ribbon award from The Wishing Shelf Book Awards under the pseudonym Devon Bath. How has writing under a different name influenced your creative process, and what drew you to this pseudonym?
I wrote this story, The Wounds No One Sees, many years ago, when I was discovering my writing identity. Since then, I’ve written fantasy and realised I love writing romance.
Two English places inspire the name Devon Bath. I was born in Devon, England and I’ve always loved the city of Bath in England.
In A Returning Love, the rocking chair introduces an Italian character to test Abigail’s feelings. How do you use such fantastical elements to explore and challenge your characters’ emotions and relationships?
The first point I’d say is purpose. There has to be a purpose for a character or an item. If I’m going to use a fantastical item, then I need to know why. What is it going to do?
If I’m going to have a character, I need to know what they are going to do and who they are going to be in the story. Their role helps me develop the story and the other character’s traits or learning.
That said, the second point is sometimes not so much fantasy but more things that make me wonder. For instance, how many times have you sat in a chair with a good book and felt like the story is real? Is it a dopamine-kick, the words or your imagination which brings it alive? If you can feel you are in a story just by reading one, why can’t you have characters going into stories? The chair is the portal to a good story.
Your stories have a strong British influence due to your upbringing. How do your experiences growing up in southern England inform your writing, and how do you integrate this background into your narratives?
I’m not sure I can answer this question. It feels so intrinsic to me. There are various places which I’ve visited and have inspired a house by the water or a row of shops which look like the shops in Lavender Village.
One thing I know is that I’ve read so much over the years that my grammar has become mixed up with American, and I will say I am glad to have editors in the world. Especially ones who know the British spelling and grammar corrections.
You mention that love can be messy, scary, and awkward. How do you ensure these aspects of love are portrayed authentically in your stories, and what impact do you hope this portrayal has on your readers?
Through every one of my stories, love is present. My aim is to make that love visible. Even if it has to be fought over or struggled to attain.
I hope my readers feel the fears and affection of the characters as well. I would like my readers to see the love in the story and then in their own lives.
