From Edwardian London to Regency-Era Intrigue
R.J. Koreto discusses his inspiration, research process, and the historical depth behind his mystery novels. He reveals character insights, writing challenges, and the seamless balance between historical accuracy and compelling storytelling.
R.J. Koreto has an unparalleled gift for weaving history and mystery into richly detailed narratives, transporting readers to bygone eras with a deft touch. As the acclaimed author of the Lady Frances Ffolkes, Alice Roosevelt, and Historic Homes mystery series, Koreto brings both meticulous research and boundless creativity to his storytelling. His novels immerse readers in Edwardian intrigue, Gilded Age drama, and architectural enigmas, all while introducing characters who are as compelling as the mysteries they solve.
With a background spanning financial journalism, magazine writing, and even time as a merchant seaman, Koreto’s diverse experiences infuse his fiction with authenticity and depth. Whether it’s the tenacious Lady Frances navigating Edwardian London, the intrepid Alice Roosevelt uncovering secrets in the corridors of power, or architect-sleuth Wren Fontaine unearthing the hidden histories of grand estates, his protagonists leap from the page with intelligence and conviction. His upcoming novel, Winter’s Season, introduces Captain Edmund Winter, a Napoleonic Wars veteran turned Regency-era sleuth, promising yet another captivating journey into history and intrigue.
In this exclusive interview for Reader’s House, Koreto shares insights into his creative process, the research behind his meticulously crafted settings, and the unexpected moments that shape his characters. It is a rare opportunity to step inside the mind of a writer who not only reconstructs history with precision but breathes life into it with masterful storytelling.
R.J. Koreto masterfully blends history and mystery, crafting intricate plots with vivid characters, sharp wit, and an impeccable eye for period detail.
How do your experiences as a magazine writer and merchant seaman influence the character development and settings in your mystery novels?
That’s the beauty of experiences—all of them affect a writer! On a cargo ship, I worked with men I never would’ve met otherwise, and I quickly grew to admire and like them. They were a very practical group. My fellow magazine editors were more similar to me in background—but were more emotional. It may be blunt, but I realized that you can run a magazine on emotion, at least for a while. But you can’t run a ship on how you “feel” about it, even for a moment. That’s how people die.
What inspired you to create Wren Fontaine, an architect who uncovers mysteries within historic homes, as the protagonist of your series?
I edit a newsletter for homeowners and found out if your house has landmark status you need a specially certified architect to make changes. That’s Wren’s job! And everyone loves old houses. The surprise for me came directly from my character. I had set up Wren to start a romance with a man associated with her client. It felt flat and awkward as I wrote it. I shrugged and moved on. In the next chapter, Wren met her client’s niece—and then the sparks flew! My own character had to tell me she was a lesbian.
In “The Greenleaf Murders,” how do you balance historical elements with contemporary themes to engage modern readers?
Themes don’t really change. That’s what I love about writing historicals. Love, hate, prejudice, vengeance, lust, loyalty: for better or worse they still drive us. Read “The Canterbury Tales” from 1400 to get a sense of how similar we still are. What changes are society’s reactions and acceptance. Consider the issue of women’s rights: my book looks back to when they didn’t even have the vote. But they found a way to garner power when and how they could, and I like to think my readers understand my historical characters.
Can you discuss the research process behind your Edwardian England setting in the Lady Frances Ffolkes mystery series?
She was an early 20th-century character in London. It’s easy to research items like what people wore. The hard part—also the fun part—is figuring out attitudes. You have to read literature of the era, and histories, to try to figure that out. Can an aristocratic woman contemplate a marriage with a solicitor? Possibly, especially as her unconventional behavior made it less likely for her to attract someone of her own class. But there are also Hindus and Muslims in London at the time, and although the British would associate with them, a family alliance was out of the question. My favorite bit of research? Edwardian London boasted at least one Japanese teacher of jiu-jitsu, and he was known to have accepted female students. I could realistically give Lady Frances martial arts skills!
How do you incorporate your background in financial journalism into the intricate plotting and character motivations in your novels?
Money has always been important! Some characters are driven by, even obsessed with, money. The real difference is the form of wealth. It gradually moved from land to factories to technology, and you have to pay attention to that. What I enjoyed researching for one book was the history of American capitalism. Brokers traded corporate shares even in the 18th century. In 1792 Manhattan, 24 traders met secretly and signed an agreement to trade only with each other—creating the New York Stock Exchange. A quarter of them were Jews, welcomed into New York when it was still the Dutch colony of New Amsterdam. Powerful 17th-century business interests overruled antisemitic politicians to allow Jewish financiers a seat at the table. That said something about attitudes about money. That said something about New York.
What challenges do you face when writing across different historical periods, and how do you maintain authenticity in each setting?
One of the biggest changes over different periods is technology, and I research that carefully. Technology drives social changes. In the world of Lady Frances, train travel was comfortable and easy. Steamships swiftly crossed the Atlantic. Telegraph and even telephones brought everyone together. The world quickly became much smaller. New technology gave rise to a new wealthy business class.
Next year, I have a book coming out set in England in 1817—the time of “Pride and Prejudice.” Travel was no quicker than the fastest horse or sailing ship. London didn’t even have a police force. It was a dark and dangerous world. It was a lot easier to hide secrets, to hide yourself. My hero, Captain Edmund Winter, has his work cut out for him!
What advice would you offer to aspiring authors aiming to blend historical accuracy with compelling storytelling in their works?
I think everyone understands you have to research carefully. When did hoop skirts come into fashion? When did muskets give way to rifles? Everyone knows the Irish have always eaten potatoes, right? No, Ireland only got the potato in the mid-16th century. But the real challenge is not to put ALL your research into the book. Everyone wants a story; no one wants a lecture. Yes, you need to know that a lady’s maid outranks a housemaid who outranks a scullery maid. But you’re going to lose your readers if you offer page after page describing the subtleties of the British class system. You’re not Anthony Trollope.
