If one is going to query a publisher, Jennifer suggests not doing so in pink ink. Her first, written when she was twelve, was nothing if not colorful. She is a member of the Historical Novel Society and the Romance Writers of America in addition to being a writing mentor. Writing historical fiction and historical romance with unusual themes and locations, such as autism and the social mores of the mentally ill in the 19th century, she has a passion for Austrian culture and is often found searching for stories in long forgotten histories.

It was her love of research and classic literature that brought her to expanding Leroux's The Phantom of the Opera.

Writing from a tiny loft office, Jennifer admits to being country mouse with city mouse tastes and is constantly fighting to keep the little critters in line. She can't pronounce pistachio, hates lollipops with gooey centers, and dearly loves to laugh. If asked for her motto in life, she points to the following poem upon her office wall:

Come to the edge. We might fall. Come to the edge. It's too high! COME TO THE EDGE! And they came, and he pushed, and they flew. ~ Christopher Logue

Croyez.

Why expand a work of classic literature? How long did this take?

Certain stories transcend time leaving many more questions than answers. No author made me question as much as Gaston Leroux. My love for The Phantom of the Opera stemmed from a deep respect for a book that was a mystery, horror and romance rolled into one. How utterly frustrating and wonderful is it to read a book that makes you ponder what happened after the final page? How many readers have thought about the nuptials of Darcy and Elisabeth after Jane Austen put down her quill? There are those readers who are merely content to question and those readers who seek answers...

After revisiting Leroux's novel for the third time the questions in my head would not go away. A voracious researcher, I began to read about France in the Victorian era which led to me studying the history of opera. This fostered a desire to understand Leroux on a deeper level. Why set this book in an opera house? What motivated him? How did he view France during the time of this novel? Much of Leroux's body of works focused on political satire and class differences. Why--as a jurist--did he leave so many unanswered questions?

It took three solid years of research and revision to do, but was worth every moment.

The Phantom of the Opera has an enormous fan base. What was your biggest challenge?

By far breaking down the walls erected by Andrew Lloyd Webber. His musical sensation and 2004 movie staring Gerald Butler created an iconic image of both The Phantom and the story as a whole. Webber got his start through Leroux, and Leroux's original is quite different from the romantic, sexual tale millions of fans saw and fell in love with.

When I wrote MADRIGAL, I wanted to adhere as closely as possible to Leroux's original vision of a sensual madman. Erik (the Phantom) was not a sexy, buff man hidden behind a petite white half-mask. He was the central character in a Death and the Maiden tale. Erik was hideously deformed, hid behind a full black mask and slept in a coffin. Very different from the image of the mildly deformed gentleman with the famous romantic "swan bed" crafted by Webber .While he possessed the same genius Webber capitalized on, he was also a murderously vengeful soul. Despite that, he was a repressed and ardent gentleman seeking the most basic of human emotions--love. Yet how can one when love society sees you as nothing more than a deviant of the underground?

Webber said in an interview that he stripped down Leroux's original to the most basic love story. In doing so I found he lessened many elements that made this classic unique. Elements such as the social differences of the time period and the clash of the classes, Erik's inherent madness and Christine's push and pull between the loves of two men. Naturally certain elements of Leroux's story were changed to suit the limits of my imagination, but I tried to bring the reader back to Leroux.

I have received numerous emails from readers stating after reading MADRIGAL they purchased Leroux's original. That is a true reward!

Do your readers have to understand Leroux's original to be able to read MADRIGAL?

Absolutely not, and that is why it is so rewarding to know readers are seeking out Leroux's work. That is one of the reasons it took three years to research and polish this book. I wanted MADRIGAL to be able to stand on its own independent of Leroux's story. Just enough back story of Leroux's original is woven into MADRIGAL to be able to give the reader a flavor for The Phantom of the Opera.

What are the meanings behind your titles?

A MADRIGAL was popular in the Renaissance and Baroque eras. It was a form of secular music sung without instruments and often performed in the courts of noblemen. Later a violin would often replace one voice in a madrigal until full instruments were introduced to the form. Voices in a madrigal were often manipulated to give the sensation of the singer crying, sighing, laughing etc. Through the years the madrigalists began to string four madrigals together. These dramatic narratives, whether comedy or what have you, is often thought to be the root of opera.

ABENDLIED pulls from Leroux's hidden German references. Translated, an abendlied is often an "evening song" or "evening hymn" They spoke of a simpler life often with themes of nature (evening etc) and very often pleas to God for forgiveness. They were romantic and contemplative in their nature. On the flip side, abendlieds were often used as lullabies for children the singer crying, sighing, laughing etc.

An ELEGY is a song or music type often sad and somber in nature usually reflective and used laments for the dead. However they are also known to reflect mysterious and strange themes that are pensive in their tone--it is from this element that the title for book three is pulled.

The fourth book not officially slated as of yet but under request has been titled Apollo's Lyre.

In addition to the above using madrigals as a foundation fit how I viewed Erik's mind and madness. Mingled with the music consuming him were these voices of beauty, but they were coiled underneath the noise of his madness. The emotion behind MADRIGAL's madrigal was based off of Shakespeare's Sonnet twenty-nine. (When in disgrace and fortune in men's eye, I alone beweep my outcast state...) A story that is a lament relaying a man's deepest urges for popularity though his desires and wants are hidden and repressed beneath envy and suffering.

Do you only write works that expand upon classic literature?

The Madrigals are only some of my unusual historicals. I write historical fiction and historical romances that focus on the social mores of the 19th century. My passion lies in Austrian culture and I have several historicals set in the Habsburg empire during the reign of Franz-Josef in addition to several works in progress ranging from a book set in 18th century New England and a historical erotica. For more information visit the other side to this website.

Why Philippe de Chagny?

Philippe de Chagny is likely one of the most underexplored characters in classic literature. Leroux describes him as a bit haughty toward men and overly kind toward women, yet a man with irreproachable conscience and great heart. It was that line which caught my attention. Here is a man born and raised in the height of France's nobility and growing old in the days when titles were fossils. Extremely powerful and wealthy--arrogance came with the territory. Yet he had scruples, that "irreproachable conscience" Leroux wrote about. How could that be? A firm sense of right and wrong, from a man who many see as the "evil empire" for not permitting his younger brother to marry for love?

Empires were built on marriages of property and money. If you had 600 years of tradition to adhere to, you would probably marry for gain as well and keep a mistress on the side for emotional love. Philippe had his freedom to visit salons, travel, and do what he wanted when he wanted. But what of his responsibilities? How does taking the reins of one of the most powerful families when barely a young man shape you and your view of what should and should not be done for the good of your name and title? When would you dare break tradition? Yet in all the heartache he caused Raoul in the original novel, I honestly do not think Philippe went charging down in the vaults of the Garnier to do anything to prevent Raoul from marrying Christine.

So why did he go down there to begin with and lose his life in the process? I explored this and my views of Philippe de Chagny as a philanthropic character throughout The Madrigals. Though he is mentioned only briefly in book one, MADRIGAL, book two ABENDLIED, cracks into his story and explains him as man and mystery…

Monsieur le Comte de Chagny is my favorite character of all classic literature. Barely seen in Leroux he is used in as "wallpaper." He is there in the background to give the book flavor. I wanted to bring him to life.

How did you secure a traditional publisher?

You get out of writing what you put into it. Publishing takes guts. It takes patience and the willingness to learn from your mistakes and successes. Publishing traditionally is highly competitive. It is not the fast track by any means. It can take years to find a publishing house. My best advice to those who want to publish is to develop a tough skin-and believe. The rejection and time involved in striving for a contract can be daunting. You may think your work is amazing… your friends love it so why can't you land an agent or editor? Understand the industry you are entering! Know how it works! Understand the why's behind what sells and what does not. But above all learn how to write and most of all learn how to improve--constantly. Go into this business wearing a confidence that cannot be denied… and it won't.

My greatest reward now as an author is not the ISBN. It is mentoring other new writers looking to start on this journey. Seeing them shine and assisting them like established authors did me makes every rejection letter I received the greatest gifts I ever got.

It only takes one yes.