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Under cover of night, he awaits her....
Byron Stratford, Duke of Raeburn, walks in shadow. Spoken of only
in whispers, he lives alone in his crumbling manor, a cold, enigmatic
recluse. Rarely appearing by the light of day, he moves as a wraith
in the night, answering to no man. He cares little for those who
dwell outside and does not abide the intrusion of other, lest they
discover his secret shame. Lord Raeburn is the sinister man Lady
Victoria Wakefield must confront if she is to save herself from her
family's ruin. Little does she suspect that she will become his
shining star — or that the passion radiating
between them will be their only defense against the true darkness
threatening to destroy them both.... Read an
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PRAISE FOR
THE VEIL OF NIGHT "The next great romance
author has arrived.... If there is only one new author you will try
this year, it must be Lydia Joyce." — New York Times Bestselling
Author Lisa Kleypas "A
fascinating story... wonderful storyteller." — Karen Harbaugh,
Author of Dark Enchantment |

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CHAPTER
ONE
Graceless and sprawling, Raeburn Court was a pile of mottled limestone atop the bald hill. Lady Victoria Wakefield spied it while the coach was still some distance off, and she watched it steadily as they approached the park gate; after all, there was nothing else in the bleak landscape to catch her eye. As they drew near, the squat manor house grew only more blunt and ugly, its saw-toothed crenellations pierced by random, unbalanced spires stabbing the slate-gray sky.
"A duke lives here?" Dyer's incredulous question echoed Victoria's thoughts.
"Best place for him." Victoria didn't bother to disguise her causticity in front of her lady's maid. After two days of traveling, first from Bristol to Leeds by train then another five hours by coach, she was seething.
Her hands curled into fists at the thought of the peremptory letter tucked in her reticule, all but ordering her to Raeburn Court. She'd been sorely tempted to remain in the familiar surroundings of Rushworth Manor and let her brother Jack rot in debtors’ prison, if it came to that. But the thought of the shame it would bring her family goaded her pride more than the duke's epistle had incited her anger. So she'd written ahead, packed a trunk, and driven to the Bristol train station, ignoring her mother's wails of protest and feigned fainting spells.
What her trip could possibly accomplish, she didn't know. In moments of dark reflection--and there had been plenty of time for reflection on the trip to Raeburn Court--she feared she was chasing a will-o'-the-wisp. Still, there was the faint possibility that she could persuade the duke to see reason. She tried to reconcile the possibility with what she knew of him. Rumor held him to be a man in love with darkness, an enigma, a pariah not because of the acts he committed but because of the conventions he failed to keep. Victoria shivered. Though she knew the Wakefields could weather the shame of Jack's insolvency, the thought of the inescapable whispers and knowing smiles that would follow them for years drove her onward. She had paid too much for respectability to have it taken away by her brother.
They reached the porter's lodge in silence. It looked even more derelict than the manor house, with missing shutters and ivy growing wild across the windows. Only a thin line of smoke curling towards the sky showed it to be inhabited. The coach jolted to a stop, and the guard opened the door, offering his arm to the ladies as they descended. He did not ask what luggage was theirs; the two of them had been alone in the coach since a farmer and his wife got out at Raeburn Court’s manor village half a mile before. The guard swung the brassbound trunk and valise down from the roof, accepted Dyer's tip, and hopped lightly onto the coach again without a word.
As the coach rattled away, Dyer gasped sharply, and Victoria turned to see a bent-backed, wizened old man sticking his head out of the front door of the porter's lodge.
"Lady Victoria?" he demanded, rheumy eyes wavering from one woman to the other.
Victoria allowed herself a small smile at his uncertainty. Her carriage dress was made of fine black taffeta, but the unforgiving severity of its cut and its lack of ornamentation made it difficult to distinguish from the plain attire of an abigail. Her wardrobe had been marked by unrelieved austerity for fifteen years now, first from an excess of puerile anguish, then from self-abhorrence, and now partly from habit and partly from the intangible security such a uniform offered.
"Yes?" she said, solving his dilemma.
The porter fixed his gaze on her, blinking myopically. "His grace is expecting thoo at the house, my lady. Gregory shall fetch thy bags when he comes this evening."
"And how are we to get there?" Victoria raised an eyebrow and gestured pointedly at the half-mile drive stretching up the hill.
The porter laughed at her, a wheezing, reedy sound that shook his spare frame and ended in a wracking cough. Taken aback, Victoria could only stare as he tried to regain enough breath to speak. Still trembling with macabre mirth, he crowed, "Thoo’il walk!" and ducked back inside the lodge, slamming the door in their faces. Victoria heard the thud of the bar dropping into place, echoed in the sound of distant thunder rumbling in the limestone hills.
Victoria exchanged a silent look of amazement with Dyer. Then, with nothing else to do, she picked up her skirts and began the long trudge up the hill to the gray hulk of Raeburn Court. She glanced back once to make sure the stout abigail was keeping pace and saw the crooked, scuttling figure of the porter lugging their baggage into the lodge.
Thunder rumbled again, closer. A fat drop of rain fell squarely on her nose as a gust of wind caught the cage of her crinoline and sent it swaying wildly against the back of her legs, shoving her up the drive. She caught her balance, then steadied her bonnet with one hand and lengthened her stride in an effort to reach the hall before the storm broke.
Dyer puffed sturdily at her side, striving to make her short, thick legs match Victoria's long steps. Another drop splatted against Victoria's cheek, then another soaked through the fabric of her wrap and the gown beneath to wet her shoulder. She pressed her mouth in a thin line of displeasure, wishing fifty hells on the arrogant duke. Her carriage dress would undoubtedly be ruined, adding destruction of property to his growing list of sins.
Despite herself, she smiled at the absurdity of that thought.
They reached the door just as a peal of thunder shook the ground and the sky let loose, releasing a torrent of water over them. Victoria didn't pause to knock. She jerked the iron latch down and threw her shoulder against the battered door, half stumbling inside as it opened. Dyer staggered in past her, mopping her streaming hair from her eyes.
A great gust of wind wrenched the door from Victoria's grasp and flung it wide, and a sheet of water blew in to drench them. Dyer squeaked helplessly and lurched out of the way.
Biting back her brother's favorite oath, Victoria seized the door and wrestled it closed. She leaned against it for a second to suppress the traitorous thrill that tickled her belly and knotted in her lungs. She tried, as she always did, to be properly disgusted by the weather--for it truly was foul, she told herself sternly--but there was something in the madness of the wind and rain that caught at some dark corner of her soul and sent it spiraling wildly away from her.
When she turned, still gasping from her precipitate flight up the drive, she was startled to discover a plump, elderly woman hardly two yards from her.
"Pardon me," Victoria said with as much dignity as she could muster, knowing the pointlessness of the attempt even as she made it.
"Lady Victoria, I presume?" the woman said, her face folding into a thousand creases as she peered at Victoria in the light of the candle she held up.
Was everyone in this cursed backwater blind? Victoria wondered as the woman squinted at her, a touch of amusement returning. "Indeed."
Her cool confirmation was greeted with a toothless grin and a flood of friendly confidence. "His grace wasn't expecting thoo so soon, not afore Gregory comes back tonight with the carriage. How did you two come here?" The servant tutted reprovingly and took their rain-heavy wraps. "You must have walked, to be so wet. Imagine such a thing! Two ladies, walking in this weather--”
Victoria forced a smile. "I assure you, madam, that it was no decision of ours. That porter--” She stopped, struggling to find a civil way to frame her response.
The woman just shook her head and clucked her tongue. "The ninny. Silas will play his little games, I fear. Keep thissen right here, love, and I shall be back in a moment." She waddled away with the candle, still tsking and sighing to herself.
Victoria took the opportunity to survey the room. The vast, unlit chamber stretched before her--the manor's original great hall, no doubt--its deep shadows scarcely pierced by the gray light filtering through the filthy mullioned windows, which trembled in their frames as another peal of thunder cracked overhead. Ancient, moldering tapestries flapped like living things in the steady draft flowing through the room, and enormous cobwebs fluttered against the black rafters in the dim recesses of the ceiling.
"What a place, your ladyship! Gives me the cold clammies, it does," Dyer whispered loudly, craning to peer about the room.
Victoria shrugged off the chill that prickled the back of her neck and replied as sensibly as she could manage. "It's only an old run-down pile of stone. You needn’t worry yourself so."
"Of course, your ladyship," Dyer murmured, but she hardly seemed reassured.
Victoria didn't blame her. There was certainly something unsettling about the place.
Victoria saw the candle flame bobbing in the darkness of the corridor long before she could make out the round form of the returning servant.
"There," the old woman said, beaming pleasantly, her homely, cheerful face a bizarre contrast to their surroundings. "If thoo’il follow me, his grace is waiting in the Teak Parlor."
Wordlessly, the women obeyed, Dyer following so closely behind her mistress that she kept bumping into Victoria’s skirt. The servant led them back through the corridor she'd emerged from, then up a narrow staircase, through a series of rooms, and along a maze of hallways, chattering all the while. "It's so grand to have a young lord in the house again--not that his grace wasn't grand, of course not, I mean the old duke, of course--but it just isn't the same, is it? Mind the fourth step; ‘tis loose. And such a pleasant air he has about hissen, and all, so regal and reserved, not at all like--” She interrupted herself with a surprisingly girlish titter. "But we mustn't speak ill of the dead. Not that his grace--I mean, the new one--isn't as hot-blooded as a young man should be. Certainly not. He'll be having house parties here, too, right enough, as soon as the hall's less of a shambles. The decline! I never thought I'd live to see the day! Well, thoo knows how those reformers are--Corn Laws, Rotten
Boroughs, Reform Bills--what's next, I ask thee?"
She stopped and turned around abruptly, fixing Victoria with such a fierce glare that Victoria blinked and replayed the words in her mind, trying to find a coherent reply. But the old servant turned away again before she could answer, resuming her babble as she led the way down a wide, marble-floored corridor.
Momentarily suspended in bemusement at her surroundings, Victoria’s anger returned in full force. How dare the duke summon her like a lackey to his tumbledown manor, to be insulted by one servant and accosted by another? She'd give him a piece of her mind--
Or rather she wouldn't, she told herself hopelessly. If she couldn't keep a civil tongue in her head, no matter the provocation, she might as well not have come at all.
"Here ‘tis," the old woman said finally, stopping at a door. "The Teak Parlor." She opened the door, stepping aside to let the women through.
Victoria entered first. Though her eyes had adjusted to the dimness of the hallway, the duke was no more than a dark shape in a chair before the fireplace, a vague silhouette against the sultry glow of the coals in the grate. She heard a rustle of skirts and felt a nervous brush against her arm as Dyer crowded in behind her.
"Lady Victoria Wakefield!" the servant announced theatrically, and rather unnecessarily, Victoria thought with dry humor. She doubted the duke was expecting any other unfamiliar visitors that day.
Victoria drew in a breath, preparing her practiced conciliatory speech of introduction, but the man spoke before she could open her mouth.
"Thank you, Mrs. Peasebody. You may go. And take Lady Victoria's chaperone with you. She won't be needing one here."
Victoria was brought up short by the sound of his deep, rich voice. Somehow, she'd been expecting something different--pettishly spoiled, perhaps, or nasally querulous--not the unshakable self-confidence that echoed in every purring syllable. The door clicked closed, and she turned to see that Dyer had left with the servant without waiting for her dismissal. Victoria suppressed an irrational flash of irritation at her abigail.
Feeling that she had lost the initiative, she rallied her façade of imperturbability and strolled over to the nearest chair without waiting for the duke to offer her a seat. After all, he'd not stood when she entered, so there was no reason to believe he would suddenly begin to play the conscientious host.
She had thought to soothe the duke and pander to his ego, but now she quickly reassessed her plans. Raeburn might be as arrogant as her brother’s diatribes would have, but there was a canniness in his preparations that made her hesitate. He'd done everything he could to make her feel like an intruder, setting the scene carefully and even stripping her of her attendant as soon as she walked in the door. If she had relied on Dyer's support, Victoria would have been made to feel very alone and vulnerable by the maid's rapid dismissal.
Well, she had never been the delicate type, but there was still something...disconcerting about the duke. He seemed to exude a kind of guarded watchfulness from his shadowed corner, a kind of physicality that made her want to shiver and rub her arms.
Victoria sat in the intricately scrolled chair, quirking the corner of her mouth in the expression of mild, noncommittal interest she had mastered long ago. That the duke could see her face in the dim firelight, she had little doubt; he had carefully staged the encounter so she'd be left in no uncertainty as to who controlled the situation.
He seemed to expect her to break the silence, but she had a paltry hand and cared to show none of her cards before she was forced, so she waited for him to lose patience and speak.
Byron Stratford, Duke of Raeburn, regarded the woman with amusement, turning his tumbler of scotch slowly in his fingers. She was not what he expected--not from her letter, and certainly not from his acquaintance with her brother. Where Gifford was dark and dashing, she was fair and dowdy; where he was dandyish, she was austere to the point of severity; where he bore an air of extravagance, she seemed almost fiercely self-contained. He'd anticipated a mad tirade from the sister of the impetuous viscount, but as soon as she'd stepped into room, he'd realized the ridiculousness of imagining her doing such a thing.
He'd assumed that Lady Victoria was younger than her brother, but she had to be at least half a dozen years his senior. He'd thought her rash when she'd accepted his half-jesting invitation, but now he realized why she hadn't worried about scandal. Every line of her bearing declared that she was a respectable old maid, from her tight, pale blonde bun and her prim, haughty smile to the hideously unflattering carriage dress. No, she would be above suspicion.
He took a swallow of his scotch, savoring the slow burn down his throat. He would enjoy toying with her very much--would enjoy provoking her, if possible, until she forgot her steely control and showed herself for the hot-blooded Wakefield she still must be under her cool veneer. Then he would dismiss her from Raeburn Court with a negligent wave and leave her sputtering as she was hustled away. He smothered a quiver of conscience with another gulp of scotch. He was too old, too cynical for moral reservations, and besides, she was guilty by association. It was scarcely credible that she could share her brother’s name and none of his character--or lack thereof.
She seemed disinclined to fill the silence, so he cleared his throat.
"My dearest Lady Victoria," he began in an insultingly intimate tone.
Her eyes narrowed, and he leaned back in anticipation of her priggish, insulted reply.
"My dearest duke," she returned instead in a throaty voice at least twice as suggestive as his own, going straight to his groin without consulting his brain.
Byron jerked upright before he could stop himself. His interest was sparked, and it had been a very long time since he'd felt that. Lust, yes; a man his age could not earn a well-deserved reputation for being a dissolute reprobate without frequently feeling--and almost as frequently indulging in--the urgings of lust. This, though--this was different. This was genuine interest. He'd become so jaded he'd almost forgotten what it was like.
"I suppose I needn't say why we are meeting here," he murmured, watching the lady closely. Was that a faint blush on the woman's pallid cheeks, almost invisible in the sullen light of the coals? He experimented. "Together. Alone."
The blush deepened minutely. It wasn't a flush of anger, though now that he was looking closely, he could see a hint of that, too. This was a purely physical, sensual reaction to his intimations, the slow spread of heat from the edge of the modest collar to her hairline. More than her voice belied her prudish façade.
"Your...indelicacy is hardly necessary," she said. Her strangely pale blue eyes flickered blindly over his face. "Your grace," she added, as if it were an afterthought.
More and more intriguing. He leaned forward in his chair. "I didn't think you'd come," he heard himself admitting.
Lady Victoria sniffed, an oddly prim gesture to be followed by such a velvety voice. "No doubt. Which is why I am here." She settled farther back into her chair, her muscles subtly relaxing.
Feline, sleek, and satisfied, Byron thought. She was digging in for a fight. Narrowing his eyes, he decided to change tactics and dove in bluntly. "I promised you nothing.”
"Which is exactly what you'll get if you continue on this foolish course of action." She didn't raise her voice, nor did her words grow sharp, but Byron heard the steel beneath the velvet.
The cat has claws, he noted, obscurely pleased. "In what way?"
Lady Victoria smiled slowly, not the superior quirk of the lips that had been plastered to her face until that moment, but an honest if malicious smile.
It transformed her suddenly and alarmingly. Despite its cruel edge, it lit her face, erasing the hard, unflattering lines she had fixed it in. If it had been a happy smile, Byron might have almost called her...beautiful. The thought surprised him. He'd been democratic in his affections, bedding the gorgeous and homely alike when the mood suited him, but he'd always prided himself on his fine aesthetic when it came to judging relative merit. Lady Victoria was fashionably tall, yes, but her hair was limp and pale, and her body-- He frowned. Byron could say nothing of her body except that it was slighter than was the mode, encased as it was in that ghastly frock and likely an equally ghastly corset. Somehow, though, he was not repelled by the thought of her hideous underthings but perversely curious.
She laughed once, a hard, artificial sound--he was convinced that her real laughter sounded as lush and rich as her voice--and tilted her head back so she was looking at him from under the pale lashes of her slitted eyes.
"My brother has no money," she said simply. "None. Father cut him off cold this month. If he wants even a paltry allowance, he must remain at Rushworth."
Byron sighed as if disappointed and let silence slip between them again. The woman didn't move--didn't even twitch. She just let the long seconds stretch out, her eyes shifting slightly under the fringe of lashes as she seemed to search out his face among the shadows. He watched her, tracing the firm line of her jaw with his gaze, studying the way her thin, delicate nose cast a shadow across her cheek. He felt an unexpected twinge of possessiveness, as if she were some exotic puzzle box or enigmatic cipher he wanted to own and decrypt.
Finally, he spoke. "I would say it is unfortunate, but I don't feel that it is. It is exactly as I had expected." He paused to let that sink in. "It is exactly as I had hoped."
Lady Victoria stiffened minutely. That got a reaction, at least. "What do you mean?" she demanded. The control slipped from her voice, and Byron was pleased to note it was just as luscious as when she had been deliberately needling him. It would have been a pity to discover that such a fine instrument were a sham.
"I mean, my dear Lady Victoria, exactly as I said." He allowed some of the satisfaction he felt to seep into his voice. "I would have been disappointed if Gifford didn't default."
Now the woman was scowling. Byron rather thought it an improvement over the disinterested mask but nothing, of course, compared to that fleeting promise of a smile. "You want him to be thrown in gaol?"
"A future peer of the realm, sent to debtors’ prison? I doubt it’s possible. But humiliation...yes, I want your brother to suffer humiliation so great it will stain his line--unto the seventh generation." He allowed himself a smile at that reference, enjoying the small blasphemy of casting himself in the role of a righteous God.
Lady Victoria, however, did not look amused. Lady Victoria looked like she wanted to throttle him. "Why?" she asked, her voice low and tense with controlled fury.
The question robbed Byron of the satisfaction of her reaction. "Because he took something that was mine." Every word was as bitter as gall. He spit them out at her, not knowing why he was giving her an answer when she had no right to any--much less a right to the truth. But what could it matter? What could she do about it? She was hardly in a position to take advantage of any knowledge. Still, the wound burned, even after three years. "Because he ruined it, and when he was finished, he expected me to take it from him, flawed, imperfect, and pretend it had never been touched."
Lady Victoria's eyes widened in surprise he doubted could be feigned. "A woman," she breathed.
"Yes. A woman. A paltry, mewling thing, but one I wanted. Gifford wanted her, too, but only as a toy. A wife of the heir presumptive of a dukedom or lover to an earl's son. Gifford made it seem so easy, I'm sure." Freak. Unnatural monster. He knew Gifford had called him these things in the wooing of Leticia; what else he might have said between his sweet blandishments, Byron could only guess. "Now I'll take my revenge. Better than a pound of flesh--I'll strip a ton from his pride."
She was silent for a long moment. Her face was unnaturally still, so perfectly composed he could read nothing from it. Finally, she spoke, her eyes somehow finding his in the shadows. "And so you brought me here to begin the humiliation. To start your revenge." She cocked her head as if expecting a response. He said nothing; the answer was patently obvious. "Then you have already begun to fail." An edge crept into her voice, hard and cynical and mocking. In a sudden revelation, Byron realized it was the tone of a woman who knew too much, who had seen too much, who had been stripped of her illusions years ago. She wasn't a bitter, dry old spinster. Not even a jaded sophisticate. She was an observer who'd sat in the shadows all her life just as he was sitting in the shadows now, disengaged and watching, judging. Was she judging him now? The idea was vaguely disturbing.
With a delicate sniff, she continued. "My brother would have to care for his sister--for her inconvenience, her honor, her person--to be humiliated by your treatment of me. And he does not. As for the rest? Jack shall flee to Paris or Naples or Vevey once he convinces my father to relent, and he'll live there in dissipated penury until he inherits. Since he cares nothing for his reputation, only the personal discomfort that beggary brings him will cause him a moment's pause."
The words falling from her mouth seemed out of some gross farce. To be deaf to insults, insensate to pricked pride, blind to degradation... Could such a man exist? Gifford had everything in the world that Raeburn had ever wanted; instead of skulking about the fringes of the aristocracy in a black cloak, Gifford could bask in society’s light, smiling in the assurance of being accepted, even adored, while Raeburn’s eccentricities were tolerated only for the sake of his title. And when Raeburn threatened to snatch it all away, Gifford’s own sister blandly announces he wouldn’t care? The pangs of his own injured dignity were so intense he could almost taste them.
Yet Byron felt in his bones that she was telling the truth. His only consolation--and that a small one--was that if revenge failed, Gifford remained a good investment, like the half a dozen other young dandies he’d secretly directed his agent to buy up for pence on the pound. But Byron could not accept the possibility that he'd failed--not yet. Vengeance might never have been more than a wistful fantasy, but if so, it was a sweet one.
"Then why are you here?" he demanded, stifling the urge to shake the smug smile from her face. "Do you dote on your brother so that you wish to save a name he does not value?"
"Dote? Hardly. He was putting toads in my bed when we were both still in the nursery."
"Then why?" he repeated, truly baffled.
She did not reply to his question, her expression remaining as frozen as if he had said nothing. She was a stranger, but he began tentatively feeling his way toward an answer as if he'd known her all his life.
"Because it is you who fear ostracism," he said slowly. "You didn't come for Gifford's sake but for yours."
Her eyes tightened, and he saw he had hit home. "I do it for the sake of my family."
"Of course. Such selflessness, to preserve your family's reputation--and through it, your own."
"What would you know of my motives?" Her eyes narrowed further to slits, and her words grew dangerously hard.
Byron relaxed as her control slid, and he began to invent a story, gauging her reactions and shaping it to suit. "And what would you know of mine? Gifford and I were once friends. He told me of you, bragged about how he could make you do anything for him. I privately thought you the cleverer of the two, what with your inconspicuous power reaching out through all the members of your family. Now I see that my estimation wasn't mistaken. As Gifford said, you would do anything at all for him--if it would save your own hide or advance your own interests.” He leveled the words like a weapon. “You are selfish, my dear Lady Victoria, and you and I both know it."
Lady Victoria's face had grown more and more livid with each word he spoke, and by the time he had finished, she was sheet white and trembling with rage. She jerked to her feet and glared at him, blue-gray eyes flashing silver. "You clearly never had any intention of reaching a compromise, and I will not sit here and be insulted a moment longer. If it were my own pride I wished to save, I would better serve it by leaving. Good day, sir." Her back unnaturally straight, she spun on her heel and strode to the door.
Away from him.
The thought was jarring, and he called out instinctively to forestall her as she reached for the knob.
"You are not dismissed!"
She hesitated, anger and energy coiled in her muscles. Even across the room, he could feel her waiting for him to give her a reason to stay. A shock ran through him, surging through his lungs and belly to his groin. Did she feel it, too, that strange fascination that bound them? He had no idea what he might say, and he fumbled for something to delay her until he could produce a rational thought.
"There's a storm," he said, making his tone indolently reasonable, "and the next mail coach won't be by until tomorrow."
"Then you may lend me the use of your carriage, I'm sure," Lady Victoria replied icily, her spine growing straighter, if possible, in a show of indignant propriety. She began to turn the knob.
"If I were you, I shouldn’t be so hasty to leave," he temporized, a bizarre desperation overtaking him.
"Oh?" There was no interest in her tone, but the hand on the doorknob froze again even if she didn't let go. From the back, not even the awkward lines of her unflattering corset could disguise the grace of her lithe figure, the unconscious seductiveness in the arch of her neck.
The prim dress and severe bun angered him suddenly. He saw them thrust between them as a barrier, keeping him beyond her spinsterish defenses. She thought she could defeat him so easily, did she? They'd just see exactly what her propriety was worth. He'd lost his opportunity for revenge--it had been gone before he'd started to plan it, had he only known. Was he so unmanned that he could not even keep hold of a woman? A pettish flare of anger hardened his voice.
"You want payment of your brother's debts forgiven. Impossible. I've put too much into buying them up; they’re quite a promising investment. But not demanding payment until he inherits--that isn't so ludicrous."
Lady Victoria released the doorknob, still without turning to face him. "What is it you want in return?"
Byron folded his arms across his chest. The daydream of vengeance, so dear to him only minutes before, was already fading. But if he couldn’t have revenge, why should he deny himself the sister?
"You."
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Introduction
This page contains spoilers! Don't read unless you've already read the
book.
I wanted to make this book into a pseudo-Gothic, playing off the
traditions of the sub-genre while striking out in a new direction. For
that reason, I broke one major convention from the start by having an
older, wiser, more experienced heroine rather than the innocent ingénue
that is more typical. That more than anything shaped the course of the
book, along with the theme "there is no monster." In a way, the
monster-less-ness of my Gothic disappoints the traditional forms, but I
use the familiarity of the Gothic to ground the story rather than guide
it, so I'm careful not to set up expectations that are other than what the
story delivers.
The Letter
"My dear lady Victoria" - This address is insultingly intimate
to write to a woman who is not one's close family friend or acknowledged
lover. It sets the mocking tone for the rest of the letter.
"I am, Your faithful servant, &cetera," - This is the way
letters were often closed, and the "I am" indicates that it's
the first time the writer has sent a letter to the recipient. A more
formal and politer version could have replaced the "&cetera"
with more protestations of amity, but this style was already falling out
of favor as a little too archaic and elaborate.
Victoria's name was already set when I started this manuscript — it came
from my first Victorian set romance, currently being rewritten. Byron's I
chose after Lord Byron for several reasons. First, I knew from the start
they my duke would have a wild reputation — and well deserved. Also, the
books was to be a play off the traditional Gothic, which made me think of
Mary Shelley's Frankenstein, and Mary Shelley ran with the wild crowd that
included Lord Byron.
Chapter One
The idea for the start of this chapter — the sexually charged
conversation — came from a number of romance books that I'd read recently
and seemed particularly suited to this type of book. Getting it exactly
how I wanted it took quite a bit of tweaking, though! I start with two
characters who have unlikable aspects instead of the usual Fake Rake and
Perky Miss that populate most romance Gothics today. That makes the whole
situation much more delicate.
p. 3 Raeburn Court - Raeburn Court has no "real world"
model. I didn't like the traditional castle-ish construction so common in
Gothics, so instead, I made it a mishmash of styles from many periods,
which would give it a suitable spookiness without following the cliché
too closely.
p. 5 "His grace is expecting thoo at the house, my lady." -
While I didn't use true eye-dialect for my Yorkshire natives in this book,
picking which words to represent faithfully and which grammatical
structures to reproduce proved to be a challenge in itself! This is the
balance I finally found between authenticity and readability. I know it
isn't entirely accurate — far, far from it, in fact — but I didn't want to
bewilder my readers when this speech is such a small part of the book. I
apologize now to anyone who wanted to see absolute accuracy here, but my
attempts at it caused such screams of frustration that I eventually
settled on mostly inaccurate instead. Please, don't lynch me. I'm too
young to die.
p. 5 limestone hills - Luck. Dumb luck. I was pretty sure that the
Yorkshire dales were limestone, but I forgot to look it up to check. I
realized this in the galley stage, but fortunately, I was right.
p. 9 "Corn Laws, Rotten Boroughs, Reform Bills" - This refers to
some of the most controversial legislature of the Victorian age. Mrs.
Peasebody dislikes government interference as a rule, and she thinks that
politics ought to be the exclusive realm of the nobles and gentry — who, of
course, should let her continue to live her life as she always has!
p. 10 Mrs. Peasebody - This name just seemed good for a busybody of a
housekeeper. In an amusing coincidence, it turns out that one of my
critique partners had a housekeeper with a very similar name, Mrs. Pease,
in her book Pretty Persuasion.
p. 12 "He took a swallow of his scotch" - In homage to his
Scottish border origins, Byron drinks scotch rather than brandy.
p. 16 "Better than a pound of flesh, I'll strip a ton from his
pride." - This is an allusion to Merchant of Venice. Byron is casting
himself in the role of Shylock, the surprisingly sympathetic villain of
the play. Earlier, there is a biblical reference — "unto the seventh
generation." There, less humbly, Byron casts himself in the role of
God!
p. 16 "Paris or Naples or Vevey" - Vevey was a Swiss lake resort
town of great popularity during this time. It is reference in a short
story by Henry James that plays off social themes, and it's also where
Mary Shelley had her dream that became the book Frankenstein.
Chapter Two
p. 26 The language was indirect enough to obscure the exact nature of the
bargain... - I have no idea what the contract actually says, so don't ask.
Really.
p. 28 This scene is a huge Gothic moment in the novel, so it had to be
handled carefully to avoid being a repetition of all the hundreds of
novels that came before. The tapestry is shamelessly stolen from The Hunt
For the Unicorn, a series of French tapestries now in a museum.
p. 30 The blank wall was, when I began to write it, nothing more than
that, but by the time I'd finished, I realized that it was the key to the
entire novel, and it guided the rest. The tapestry with nothing behind it,
the terrible secret that isn't, the monster that doesn't exist.
Chapter Three
p. 36 It wasn't until Victoria and Byron started talking that I realized
how important the ghosts of the past of Raeburn Court were to this novel.
Byron's great-uncle, Annie's mother, and their stories quickly became a
layer to the story I didn't expect.
p. 37 Dowager House - A lot of novels speak of Dower Houses, fewer of
Dowager Houses. They are, by the 19th century, essentially the same thing.
Chapter Four
Sex, sex, sex This was actually an experiment to see how well I could
write without some huge external plot (which romance authors often use as
crutches) and with a lot of sex (which sells really, really well right now
and which works for my voice). No matter how sexy my books are, they'll
never be pornography. In pornography, without the sex, there is no point
to the story. In my books, without the stories, there is no point to the
sex. To keep up the tone of the novel, I made up the tower room of
debauchery, which belonged to the previous duke. There is a sensible
reason for choosing it. Except for the Henry Suite and Unicorn Room, it's
the only room suitable for such activities that's habitable at this point.
There is no way Byron would let Victoria into his private quarters at this
point, and he certainly doesn't want to come to her, so the tower room it
is.
p. 57 but I always repent - This is from a joking rejoinder that I say
sometimes when asked something similar. She's not very joking at this
moment, though!
Chapter Five
p. 76 beef pie - I admit it. I hate English food. This isn't what the
aristocracy normally dined upon, but there was such a great potential for
horridness that I could not pass it up. The cook is dreadful, and she will
be gently retired between the last chapter and the epilogue.
p. 77 Red didn't do the color justice - I have no idea where this came
from. Slightly humorous moments kept slipping into this novel, and when
they worked, I let them. It took a lot of balancing to keep the tone and
humanity both working through moments like this.
Chapter Six
p. 87 Webb - I am an architecture freak. *g* Philip Speakman Webb was part
of the aesthetic movement in architecture that eventually birthed the Arts
and Crafts style. In its early forms, it was simple and medievalist,
though it had a number of characteristics that any Craftsman enthusiast
would immediately recognize and appreciate. I wanted something that worked
for Byron and spoke of who he was, and this movement really spoke to me.
p. 92 I admit it. I like to do stupid things on rainy days, too. *g* I
just like rain!
p. 97 "Yer were gone such a time!" - Okay, so why did the
housekeeper suddenly say "yer" instead of "thoo"?
"Thoo" is singular, and "yer" is plural! Just like
"thou" and "you" in Old and Middle English, before it
became Frenchified into formal/informal. I was tempted just to leave it
all as "thoo" so as not to confuse readers, but then I *knew*
I'd get lynched.
Chapter Eight
This chapter and the next caused me fits. I can't tell you the number of
times I rewrote it before I was happy. Anyhow, the first scene in this
chapter was never here until the line edits stage. I'm surprised at how
well it clicked given how little editing I've done on it! Large parts of
it were lifted from another scene, but it came together well.
Chapter Nine
The peach crumble wasn't planned — really. I decided that I'd been giving
them enough terrible food that they deserved something good, and, well,
this is what happened.
p. 138 Victoria drools in her sleep sometimes. I realized it when I was
writing an earlier incarnation of the scene, but it was right, so it
stayed. Somehow, it just fits her.
Chapter Ten
p. 142 I had no idea what was going to happen to Victoria on this walk,
and I knew nothing about Annie's past until Mrs. Peasebody started telling
me. But it worked. So it stayed, and Annie grew to become more than just a
necessary piece of furniture for the story.
p. 150 Rook Keep - This place is the key to their week, in a way, and so
it exerts a kind of psychological draw upon Victoria. There are symbols in
it for Victoria and Byron, both, and each sees the other in it — the things
that they fear most and love best.
Chapter Eleven
p. 153 Temple of Flora - This isn't one of the priceless incunabula (books
printed before 1501). This is a Georgian regency-era book of flowers with
lots of pretty plates that I like. I just like the pictures, so I decided
to include it. It probably doesn't look a thing like the book he's
searching for.
p. 155 quarto-sized - Sheets of paper to be made into books once came in
standard sizes. The number of times a piece of paper was folded before it
was bound gave the end product its size. One fold into four leaves
produced a folio, two folds into four leaves produced a quarto, three
folds into eight leaves produces an octavo. It goes to 16 and 32 sheets,
but those were very small books! A quarto was a bit larger than a normal
modern hardback, and it was generally used for things less important, say,
than great religious or extremely valued literary works but more important
that ephemeral popular fiction. There. Far more than you ever wanted to
know.
p. 161 the ladder tipped up the front of her dress - A pet peeve of mine
is historicals in which the characters wear period clothes yet don't
actually wear them, if that makes any sense. There are descriptions of
clothing, but the characters never move in the clothes described. It's
hard to keep in mind as a writer, but it adds so much when you get it
right!
Chapter Twelve
p. 165 ridgepole hooks - Hooks on the end of ropes were sometimes used to
pull down burning building so the didn't do any harm to the surrounding
buildings.
p. 173 to melt the wax - Though the penny post was well established, it
would be a number of years before self-gummed envelopes would become
available.
Chapter Thirteen
p. 177 was that a hint of pork drippings? - I loathe English cookery.
There are few things more horrible. And I'm afraid by opinions show!
p. 183 This is the scene that made my agent decide she wanted to represent
me even though she'd only read one other chapter.
Chapter Fourteen
p. 195 In the first draft, I did not realize Victoria's wildness until
this scene. It caused a lot of revising! Half a scene got caught here and
in the next chapter. I loved being able to write about riding and
horses — since I ride, I know how to describe horse body language and
riding in a vivid and realistic way.
Chapter Fifteen
p. 205 Byron and Victoria are very much people of their time with their
social outlooks and concerns. The doom of the nobility was just then
becoming clear, but many, like Byron, kept themselves wealthy through
increasing the amount of real estate they owned and by renting out their
lands to industrialists.
p. 208 Lake Poets - The Lake Poets Wordsworth, Coleridge, and the rest)
were major forces in the Romantic Movement and loved Yorkshire and the
Lake District — wild moors and abandoned heaths over the bucolic farmlands
that had been preferred until that point. "Lake Poets" was a
demeaning name coined by their critics.
p. 215 This was a scary scene to write since so much of the book hung upon
it!
Chapter Sixteen
p. 217 I loved writing this scene! Finally, ACTION! I was very confident
at action scenes — I knew I was good at them — and so writing this was like
stepping into a pair of well-worn slippers.
p. 222 he could feel it searing his cheeks - Byron has erythropoietic
protoporphyria, which is very painful and leaves some scars but does not
eat away at soft tissue the way erythropoietic porphyria does. It also
gets quite a bit better typically when a person is in his mid-30s. Byron's
just slightly late.
Chapter Seventeen
p. 228 I really enjoy writing delusional scenes, mostly because it's such
a challenge. *g* This was fun! I did rewrite it a number of times, but all
the pieces worked.
p. 228 beef tea - Think beef broth, the 19th-century equivalent to chicken
noodle soup.
Chapter Eighteen
p. 244 "Did they love each other?" - A major theme of this book
are human relationships — those of the old duke versus the new one, of
brother-sister, mother-daughter, friends, and lovers — and not just how
they are ideally but all the different, less usual forms they take between
people.
Chapter Nineteen
p. 250 his fingers came away damp - I didn't know this was going to
happen, but when it did, it felt so right! The revelatory scene that came
after is one of the ones I'm most pleased with in the entire book.
Chapter Twenty
Here is the chapter where the Beauty and the Beast theme clearly overtakes
the traditional Gothic theme. It is a quiet sort of echo of the fairy
tale. I wasn't even conscious of it at first. And yet here is our heroine,
who almost loves the Beast and is going away for the sake of her family...
Chapter Twenty-One
p. 280 "thrown into the Thames" - a tragically frequent — almost
routine — end for unwanted bastard infants in Victorian London.
Chapter Twenty-Two
The timeline here was tricky, but I eventually ironed it out! I had to
rewrite entirely it because I'd written the end when I was only halfway
through the book, and it didn't quite fit who Byron and Victoria had
become.
Epilogue
One reader mentioned that the situation her is perhaps unique to romance.
Maybe it is. I was tired of the mommy-and-daddy epilogues (as if babies
were proof of love!), and so I wanted to do something else. Read MUSIC OF
THE NIGHT to see how this turns out!
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SCENE #1
This scene fits into Chapter Fourteen on page 200, where there is a scene break now.
Victoria gave Princess his head, and the horse galloped gleefully in Raeburn’s
wake. The rain-damp wind whipped loose strands of hair in her face and
tugged at her tightly pinned hat, but she ignored everything except the
exhilarating rush of speed and power that heaved under her. She leaned back
as they rushed down a sudden declivity, then far forward as the horse surged
up the other side. Raeburn kept his much faster mount reined in so that the
distance between them did not increase but still galloping far enough ahead
that she had the illusion of flying across the moor alone.
Finally, he slowed to a trot, and she drew even with him. His hat was still
pushed firmly over his brow, putting his entire face in shadow, and his silk
scarf hadn’t slipped even a fraction of an inch. He looked down at her
with a smile.
“That enough of a run for you?”
“It’s enough of a run for Princess, at least,” she returned. “I
think he’s gotten rather out of shape.”
He gave the horse a considering look. Princess’s ears were cocked eagerly
forward, but his nostrils were still wide and he was puffing from the run.
“Forgotten what real exercise is like, my pudgy friend?” Raeburn asked
the horse. Predictably, it ignored him.
They slowed their mounts to a walk, and Raeburn cut across the moor toward a
tangle of trees.
“I didn’t know the keep was this far from the manor house,” Victoria
said, eyeing the copse with misgiving.
“It isn’t, if you want to clamber down a sheer cliff then climb up a
hillside nearly as steep. As for me, I’d rather take the long way and not
break my neck.”
Victoria smiled ruefully, remembering the sharp drop at the edge of the
garden. “Point taken.”
They lapsed into silence again. Victoria turned her face toward the wind and
just breathed it in, enjoying the air and the companionship.
Companionship. She cast a sidelong glance at the duke, riding beside her
with a straight back and stern countenance under the lowering sky. Who would
have ever thought that she’d think of Raeburn and companionship in the
same sentence? He was a fantastic lover, of course, and someone against whom
she could sharpen her wits, but a companion? Even after their nights
together — especially after their nights together — Raeburn should be the
farthest thing from her mind when she conjured up the comfortable intimacy
she’d always imagined companionship to be. But he was not.
They reached the edge of the trees, and for a moment, Victoria feared
Raeburn would plunge straight into the midst of the thicket, but he steered
his mount around the edge until they came to a break in the undergrowth.
Raeburn turned his horse into it, and Victoria realized that it was a narrow
path, wending an irregular route through the growth.
“I always forget exactly where the start of the track is,” he confessed,
looking back over his shoulder as she ducked under a low branch. “It’s
so hard to see from the outside — ” he leaned sideways out of the reach of
another — “and every season, it changes.”
“Do you come here often?”
He shrugged. “I fell in love with Rook Keep when I was first here as a boy
of twelve, but I come out only a few times a year, when I have an afternoon
free and the weather’s congenial.”
Congenial! Victoria thought, thinking of the threatening, slate-gray sky
that pressed down just above the treetops. But perhaps to him, it was.
Perhaps only then did the sunlight not burn his eyes...
She stopped her fruitless speculation. Raeburn had made perfectly clear that
he had no intention of answering her question, and thinking about it would
only frustrate her.
***
SCENE #2
This comes in the middle of Chapter Fifteen, at the end of page 208.
That earned in an exasperated glance cast over her shoulder, but Victoria
only said, “I suppose I should go down. There’s nothing more to look at
up here. We’re both getting damp through, and it looks like the sky will
let loose at any moment.” She didn’t move, though, only turning her
attention back to the landscape beyond the window.
Byron admired the graceful line of her neck, the neat taper of her waist and
flaring of her hips below, glimpsed from the way her cloak hung crookedly
from her shoulders. Her silk-sheathed arms were unfashionably slender, but
he could no longer think of her thinness as a fault but as much a part of
her allure as the way the left corner of her mouth rose infinitesimally
faster than the other when she smiled. She was the picture of propriety,
standing perfectly straight in her precisely correct riding habit, and yet
something betrayed her — something in the tilt of her head and the way wisps
of hair escaped at the base of her neck to curl and frizz in the
drizzle-damp air. Impulsively, Byron closed the space between them and
wrapped one arm around her waist, pulling her corset-straight back against
his chest, her firm, rounded bottom against his loins. For a moment, she
stood stiffened against him. Then she relaxed, her shoulders loosening and
her head leaning back against his chest.
“You aren’t half so difficult as you’d like to be,” Byron murmured
into her hair.
She laughed, the sound dry but without any bitterness. “If you think that,
you don’t know me half so well as you think. Come; let’s go. I’ve seen
all that there is to see out here, and if we stay any longer, we’ll both
catch our deaths.”
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With her debut erotic romance, Lydia Joyce enters the ranks of the best. Playing on readers’ fantasies, she titillates and intrigues with a stimulating plot and unique characters. Longtime readers will realize that Joyce does for peaches what Susan Johnson did for plum pits, and they won’t let this book out of their
bedrooms.
— Kathe Robins of
Romantic Times BOOKclub, Top Pick
If you have missed great Gothic romances, as I have, you are sure to love this delicious debut novel. Ms. Joyce has crafted a mature, polished story that combines sizzling love scenes and captivating characters. The author brings the mores and manners of the Victorian era to life in the well researched plot. Ms. Joyce is sure to be a rising star in the romance genre. I am looking forward, with great anticipation, to her next book.
— Romance Junkies
Five Blue Ribbons
Lydia Joyce’s The Veil of Night is an extremely sensual, enthralling and complex historical romance that had my attention almost literally glued to every page. The characterization in this book is simply outstanding. Reading through each complex layer of Victoria and particularly Byron was a true pleasure, and I kept wondering all along what new secret would be unraveled. In The Veil of Night , Ms. Joyce masterfully envelopes the reader in an atmosphere of mystery and sensuality that truly appealed to my
senses.
— Mireya of A Romance Review
"The main reason that most of the book works so well is the writing itself, which is beautiful and far above the norm - particularly for a first-time author. The prose is lyrical, and the characters' thoughts are expressed in a mature and insightful way. Often there is more thought than dialogue, and it works well here because the characters both have thoughts worth listening to. If you've ever read a book with characters who seem to ruminate endlessly on the most boring topics imaginable (and I've read many), then you know how difficult it is to pull off this type of plot. The feat is even more impressive considering the fact that Victoria and Raeburn are the only main characters; Raeburn's house has a handful of servants, and everyone else appears only briefly at the very beginning and the very end. So most of the book is just Raeburn and Victoria, together and alone. And the author pulls it all off with considerable aplomb."
— Blythe Barnhill of All About Romance
Intelligent. Passionate. Filled with dark secrets and illuminating love. This is what romance is
about
— Robin Schone
The next great romance author has arrived, and her name is Lydia Joyce. 'The Veil Of Night' is a stunning debut from a young writer who possesses remarkable maturity and style. Every page is charged with sensual energy and confident grace. It is a gorgeous, complex, absolutely riveting novel. If there is only one new author you will try this year, it must be Lydia
Joyce.
— Lisa Kleypas
The Veil of Night is a lush, erotic historical Gothic romance, with just the right dark and mysterious hero and a strong heroine who can match him. Anyone who has ached for the Gothics of the past shouldn't miss this book!
— Karen Harbaugh
A powerful love story, compelling and beautifully
written.
— Alison Kent
If you have yet to experience a Gothic romance, Lydia Joyce's dark, dangerous, and passionate debut is a good place to start.
— Waldenbooks Romance Reader at Home Newsletter
Victoria is a totally unique character and more than anything I came away with the view that Lydia Joyce shows talent on the level of Anne Stuart. I don't make such comparisons lightly, and in this instance it's quite a compliment.
Another benefit of The Veil of Night is this: it's a cabin romance, which means it's Victoria and Raeburn, alone together, for most of the book. ... This sort of isolation brings the characters front and center. I've always said that you can gauge the strength of a relationship by how well a couple does on vacation with only each other for company. Victoria and Raeburn do just fine.
— Laurie Likes Books
Lydia Joyce's The Veil of Night is a worthy sojourn amid nocturnal secrets and passions where the treat is more potent for the duel of wits and wills than the revelations.
— Book Page
[Victoria is] a breath of fresh air to those of us who are sick of reading about 18-year-old virgins.
— The Crooked Bookshelf
The Veil of Night is one of those increasingly rare books, one that is absolutely and completely character-driven. ... Being so focused on the characters, the only way this would work is if the characters are good, and they were. ... It's a very luscious love story, with wonderful love scenes and one that is very romantic. ... The ambience was outstanding, too. It's a very claustrophobic book, mostly taking place inside a dark manor, with only a couple of characters other than the protagonists, and the author's writing style was key in creating this feel. ... I also liked that Joyce included quite a few details that made me conscious that I was reading about people who were different from me... who felt different about issues like class, who ate different things, who dressed different.
What a wonderful discovery Lydia Joyce was! Her books are deep, lush, intense and complicated, and utterly fresh. I loved this gothic-tinged, almost claustrophobic and very romantic story.
— Rosario's Reading Journal
RT Reviewer's Choice Award Nominee
RT Top Pick
RT Runner Up Best Sensual Historical Romance
AAR Buried Treasure
BWAHA Nominee for Best Historical
RRA-L Poll Best Debut
One of Laurie Likes Books Favorites of the Year
Rosario's Top 10 for 2005
Renee's Top 10 for 2005
2004 Golden Heart Finalist
2002 Rebecca Winner
2002 From the Heart Finalist
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