Meet Clara Alexander from The Convict’s Courtship by KyLee Woodley

Meet Clara Alexander from The Convict’s Courtship by KyLee Woodley

I’ve always been a fan of KyLee’s books, and today I’m excited to interview one of her characters, Clara Alexander. I just love a good story about a reformed convict. There is something about overcoming the past and living in a new life that Christ gives that makes me give a happy sigh.

KyLee is graciously giving EVERYONE who signs up for her newsletter, she has a free ecopy of her short story, The Debutante’s Revenge.

Before we dive into our interview, let me introduce you to the story that Clara takes part in.

The Convict’s Courtship by KyLee Woodley

Genre: Historical Romance

A remote mining town, an aspiring journalist, and the reformed convict who saves her life.

When Clara Alexander returned from finishing school to Virginia City she had two goals: to become a reporter and make peace with the father who betrayed her mother. But even in the West, there is no room for her in the newsroom or in the family her father made when he married his mistress. Clara is forced to take desperate measures to prove her worth to an editor—including a reckless venture into a dangerous mine shaft.

Reformed convict Beau Vulpe lives a quiet life of obscurity in a remote mining town in Nevada. When he rescues a beautiful woman from a sweltering mine shaft, he’s welcomed into her home as a hero, only to discover that they are the same family he deeply wronged the summer before. Now, with winter’s grip choking the mountain town and rumors of mines going bust, he is forced to stay, praying Clara won’t discover the truth before the spring thaw.

As Clara pursues her dreams of writing for the renowned Territorial Enterprise, she continually crosses paths with the mysterious Frenchman who saved her life and is drawn to him a little more with each interaction. Beau finds himself not only falling for the lovely lady but befriending her family as well. Can he protect his freedom and atone for his wrongs without losing his heart in the process? And what about Clara—will her attraction toward Beau Vulpe lead to the disappointment her mother warned her about?

Purchase Links:

Amazon

 

Now it’s time to jump into our interview with Clara!

CC: Clara, would you please introduce yourself to my readers? How would you describe yourself?

Clara: I would describe myself as intelligent, attuned to the needs of others, and—if I’m being honest—a tad bit impulsive. As for my role in the story, I suppose I am the star—well, with dear Beau, of course. You see, I came west to Virginia City to live with my father and his new family after finishing school. By then, I believe that happily ever afters were about as realistic as Tommy knockers and Father Christmas, so I determined that rather than catch an eligible husband—like many of my friends—I would rely on my God-given intelligence.

I love to write, and in the West, there seems to be a certain bending of social norms, so I hoped I might begin my career as a journalist there. Then I ran into Beau in the mine, and one thing led to another. The next thing I know, we are trouncing around Virginia City, reporting on shootings—and did I mention there was a murder?

CC: The West is definitely a good place to escape when you don’t fit the social norms. It sounds like it’s been an exciting time.

What is it that you want? What’s standing in your way?

Clara: I want to make a difference—to prove myself worthy of love because I am clever, not merely beautiful, as my mother was. So, as I mentioned, I pursued journalism. I also long to be part of my father’s family again, though that may be even more challenging than establishing my career. You see, my stepmother was once his mistress before my mother passed away, and I struggle with what I believed were well‑deserved feelings of bitterness.

As for my writing, the obstacles are many: the editor at the Territorial Enterprise, other journalists, and those who insist upon protecting me. The world is not a gentle place, and people—Father among them—wish to shield me from its uglier corners.

CC: It’s hard when people want to protect us, but we don’t want or feel we need their protection. And what a hard family dynamic!

If you had time to read a book, what would you pick up and why?

Clara: I used to read Emma with my mother! Honestly, she and Emma have some similarities. I love all manner of writing, though—including poetry. Poe’s melancholy and moral tension speak to something in me—the grief I still carry, the bitterness. His shadows feel familiar. But then there is Wordsworth, whose stillness and spiritual quiet remind me of the peace I keep chasing. Between the two of them, I suppose you could chart the whole map of my heart.

And of course, I love my hymns. Wycliffe gives me the ancient, doctrinal backbone I cling to when the world feels unsteady. Fanny Crosby offers the tender devotion of my own century—simple, heartfelt truths that settle into my soul. Those hymns remind me of who I long to be, not who I fear I am becoming. 

Then there is the Bible—my compass. When life feels muddled and gray, Scripture allows me to test the black and white of things, especially within myself.

Little Women is another sort of scripture to me. I long for the closeness the March sisters share—something I lost when Mother died and Father remarried. That book feels like the home I wish I had known.

I suppose I read to understand myself—and to imagine who I might yet become.

CC: Oh! I love that. You read to understand yourself and who you might yet become. That is truly beautiful.

What was your childhood like? How has that influenced who you are today?

Clara: My childhood was happy—mostly. I spent a great deal of time with my mother back East. Father fought in the Civil War, and it was during that time that my mother developed tuberculosis. I began to feel as though our roles had reversed. I became the caregiver, the strong one, and she was the one in need. We never truly switched back.

My family followed my Uncle Titus and Aunt Melanie out West, and in the drier climate my mother’s condition improved. We were happy for a time. Then everything fell apart. My mother became very ill again, my father was unfaithful, and our family unraveled. Mother died, Father married his mistress, and a few months later my little brother was born. I thought matters might improve then, but instead Father sent me away to a finishing school back East.

Suffice it to say, that was the end of my childhood.

[sighs softly] It is a sorrowful tale, I know. But do not trouble yourself. By the end of my book, Beau and I have our happily‑ever‑after, and my family finds healing as well.

CC: Finding that healing must have been quite the journey!

If you could ask God a question and have it answered, what would it be?

Clara: Honestly, I didn’t consider questioning God until the end of the book. He is sovereign and allows both good and bad things to happen. It is His good and perfect will. I suppose I believed in the sovereignty of God to such a degree that I never thought to question Him.

At one point, though, I believed that while God was good, He did not necessarily protect His children from harm or hurt. I rather felt as though He were far away in His Heaven and did not need—or truly mind—me, so long as I didn’t do anything too terribly wrong. If I could just stay out of His bad graces, I thought I would be safe. But there came a moment in my story, when I realized I loved Beau—but that there was no possible way we could be together—when I finally asked God why He had brought him into my life. And what I discovered was that God meant to show me not only the truth of His love, but that He is real and active in my life, even when I cannot see it.

CC: That is definitely hard to wrestle with. Sometimes He feels so far away and like He doesn’t specifically care about us as long as we stay out of trouble. Praise the Lord, that is not an accurate view of him.

You risked your reputation, your safety, and your father’s goodwill to write for a newspaper under a false name. Was it worth it?

Clara: [a soft laugh, then she straightens her posture]

“Worth it.” That is a most curious phrase. Worth, as I understand it, speaks to value—what something costs, or what one is willing to pay. And that, I suppose, was precisely the matter at hand: my value. What I was worth in the eyes of the world.

Everyone seemed to have an opinion on that subject. Mr. Goodwin believed my worth extended no further than a society column and perhaps a recipe or two. Theo valued me only so long as my words bore his name. Even Father—dear as he is—thought it more worthwhile to send me to finishing school than to allow me to remain and grieve my mother properly.

[her voice softens]

But here is what I learned while crawling through a mine shaft with nothing but a rat for company: one’s worth is not determined by what others assign. It is what God Himself placed within you before your first breath.

So yes—every muddy hem, every false mustache glued to my face, every argument with Beau about the dangers of trousers—worth it. Not because my name appeared in print, but because Mr. Rankin was freed. Because Mr. Peterson’s murderer was brought to justice. Because Maudy Jane McCready found a good man and a clean life.

[she touches the red scarf at her neck, smiling]

Scripture tells us that wisdom cries aloud in the streets. I believe the Lord intends truth to be spoken boldly, even—perhaps especially—by those whom society least expects to speak it. I am merely attempting to be obedient.

And if Beau happens to think the result is magnificent… well, that is a blessing I shall not pretend to mind.

CC: It sounds like you lived quite a life, and I look forward to diving into the details as I read the book.

Unfortunately, it’s time to wrap up, so here’s our last question, and it’s always a fun one. What is the weirdest thing on your bucket list?

Clara: [she blushes, then laughs softly]

Well, I suppose that depends upon what one considers “weird.” I have no desire to jump from cliffs or ride in hot‑air balloons or any such nonsense. But I *do* have one ambition that most ladies of my acquaintance would find quite shocking.

I should like to ride the Virginia & Truckee locomotive — not in the passenger car, mind you, but up front with the engineer. I want to see the firebox, feel the heat of the boiler, and watch the great wheels catch the rails beneath us. There is something thrilling about all that power harnessed for purpose. It reminds me of what words can do when set in motion.

I suppose it is an odd wish for a lady. But then, I have never been particularly good at being only what a lady is expected to be.

[she smiles, a little sheepishly]

Besides, Beau says he will arrange it someday — provided I promise not to leap off the engine in pursuit of a story.

CC: Oh! That does sound like fun!

That’s it for now. If you liked getting to know Clara, I highly recommend you go check out Kylee Woodley’s The Convict’s Courtship

KyLee Woodley writes inspirational historical romance with a pinch of adventure. A cheery romantic, she loves to evoke bygone days and heartwarming love stories. KyLee teaches preschool at a lab school in Texas, where she lives with her husband and their three teenage children. Historical Bookworm Show—a steadily growing podcast for history lovers and fans of historical fiction. Raised in the Pacific Northwest and now rooted in Texas, KyLee carries a deep respect for American values and the power of redemption. She began ministering to the homeless and addicted as a teenager, and that compassion continues to shape her stories—loving the unlovely is a timeless theme.

In her spare time, she cares for a rescue dog named Lucky, a feisty feline named Hazel, and two adorable Boston Terrier puppies. She listens to contemporary Christian, country, and early‑2000s rock, visits bookstores and coffee shops with her teens, and watches adventure movies with her husband, who might resemble Superman.

 

You can connect with her at:  Website  |  Newsletter  |  Facebook  |  X  |  Amazon 

Bonus Content: Playbill for The Insurrectionist’s Masquerade

Bonus Content: Playbill for The Insurrectionist’s Masquerade

If you’ve read Sung in the Shadows, then have I got a treat for you! (And if not, you can still read this and enjoy it, and it might even make your reading of Sung in the Shadows a little richer!)

Remember how Ezekiel was commissioned to write the music for an opera? The storyline was vaguely referenced, and so I decided that what could be more fun than to have the actual playbill from the final production? So without further ado, settle in for a peek at Ezekiel’s opera. (Unfortunately, I have no music. How sad.)

*I do confess, I did use AI to help create the story, then I edited it to make it fit what I wanted it to be. There are only so many hours in a day and only so much creativity in the midst of life. Plus, writing an opera plot is WAY out of my wheelhouse. So I pray you will give me grace for using AI to help me create a bonus material item. The playbill is my design.*

First page of the playbill for The Insurrectionist's Masquerade

The Grand Opera House 
Presents
A Graham Linville Production
Composed by Ezekiel Beaumont

On Tuesday, February 28, 1882
and following evenings at 8

The Insurrectionist’s Masquerade

A gripping journey into a world of secrets and masquerades

Featuring Eleonora Beaumont
as Princess Seraphina

Page 2 of playbill

A New Operetta in 3 Acts

The Insurrectionist’s Masquerade

Libretto Written by Graham Linville
Score Composed by Ezekiel Beaumont

King Leontius (corrupt leader) . . .  Alessio Marelli
Severin (king’s spy) . . .  Matthias Draegor
Princess Seraphina (king’s betrothed) . . . Eleonora Beaumont
Anneliese (princess’s maid) . . . Lucinda Veralli
Captain Alaric (insurrection leader) . . . Ottavio Vescari
Valenin (Alaric’s second in command) . . . Vicktor Torien

New Scenery by Ms. Theresa Plane

The Setting
A lavish masquerade ball at King Leonitius’s countryside palace. It’s the eve of a royal wedding between the king and Princess Seraphina. The ball is filled with noble guests, all masked to preserve their identities and add to the air of mystery.

Act I . . . A Masquerade Begins

Act II . . . A Dangerous Attraction

Act III . . . The Unmasking

Page 3 of the playbill

Summary

ACT 1: THE MASQUERADE BEGINS

The grand ballroom of the palace is alive with music and revelry. King Leontius is celebrating his victory in unifying two kingdoms and subduing an enemy. Princess Seraphina, however, is troubled. She feels no passion for King Leontius. Her heart already belongs to another dashing and mysterious man in a dark mask, whom she met at a previous ball under a false identity. Little does she know that this mysterious man is Captain Alaric, the rebellious leader of a resistance group plotting to overthrow King Leontius’s corrupt rule.

Unbeknownst to the princess, the masquerade is not just a celebration, but a secret meeting point for conspirators. Two factions are vying for power: Severin’s spies seek to protect the monarchy while Captain Alraic and his men seek revolution. Tensions bubble beneath the festive atmosphere, and a dangerous game of deception begins.

ACT II: A DANGEROUS ATTRACTION

Seraphina and Alaric share a passionate duet, “Whispers in the Dark,” where they confess their love for each other, though neither knows the true identity of the other. As they grow closer, the danger mounts. Severin’s spies have uncovered the plot to assassinate the king and are seeking to capture the conspirators.

Meanwhile, King Leontius grows suspicious of the princess’s behavior, noticing her distancing herself from him and her mysterious conversations. He’s not as naive as he appears and is determined to uncover the truth, even if it means exposing the conspirators and ruining his wedding.

Page 4 of the Playbill<br />

Summary

ACT III: THE UNMASKING

The night reaches its climax as the clock strikes midnight. The guests are urged to unmask themselves, and chaos erupts. King Leonitus confronts the princess, demanding an explanation, while Alaric is exposed as the leader of the rebel group. King Leonitus orders Captain Alaric’s immediate execution.

In a dramatic confrontation, Seraphina must choose between her duty to the crown and her love for Alaric. The rebel forces break into the ballroom, leading to a violent stand-off.

In the final moments, Seraphina chooses to join Alaric and the fight for revolution. King Leonitus is fatally wounded, and the rebels escape with guards chasing them. Seraphina and Alaric escape singing the final duet, “Freedom’s Kiss.”

MUSICAL HIGHLIGHTS

“Whispers in the Dark” . . . a soaring love aria for Seraphina and Alaric

“The Prince’s Command” . . . a duet of conflict between Seraphina and Leonitus

“Revolutions Cry” . . . a rousing ensemble number as rebel forces make their move

“Freedom’s Kiss” . . . a dramatic, bittersweet finale duet as Seraphina and Alaric escape

If you haven’t read Sung in the Shadows yet, you can learn more about it here. 

My question for YOU:

What did you think of the operetta? 

I modeled the design after playbills of the time, so I hope it felt like a night at the theater for you. I loved how there were parallels to The Insurrectionist’s Masquerade and Sung in the Shadows. (Yes, I purposely built those in and tweaked AI’s story to do what I wanted for the operetta.)

ABOUT CRYSTAL CAUDILL

Crystal Caudill is the author of “dangerously good historical romance.” Her debut novel, Counterfeit Love, was a 2023 Carol Award finalist, and her novella, “Star of Wonder,” won the 2024 Christy Award for short form. She loves history, hot tea, all things bookish, and the Teenage Mutant Ninja Turtles. She is a stay-at-home mom, caregiver, and chaos organizer. When she isn’t writing, Crystal can be found hanging with her family and playing board games at her home outside Cincinnati, Ohio. Find out more at crystalcaudill.com.

Connect with the author:

Website  |  Newsletter  |  Facebook  |  Facebook Group  |  Instagram  |  Pinterest  |  Amazon  |  BookBub  |  GoodReads

RCR: Claire Holloway is Winging It by Angela Ruth Strong

RCR: Claire Holloway is Winging It by Angela Ruth Strong

It’s another month of our Tackle Your TBR Pile reading challenge. So dig through that stack of books you’ve been meaning to read that’s taller than you and start reading! 

Don’t forget to comment at the bottom of the post for your chance to win a book off my prize shelf. *The list of prizes from my shelf can be found here.*

Reading Challenge 2026: Tackle the TBR Pile

This Month: March – Title/Author with Same First Letter of Your Name

Next Month: Funny Book

My Review

I don’t often read contemporary romance, but Angela Ruth Strong’s romcoms will always be an autobuy for me. Just like in her other books, Claire Halloway is Winging It is full of comedy, real life, deep character growth, and healthy relationships. I adored getting to see the behind-the-scenes of being a flight attendant and pilot, living vicariously through Claire’s travels and experiences, and witnessing two adults making the hard decisions in order to pursue a healthy relationship and future. I can’t wait to read the next book in the series, and will definitely rereading this one!

Claire Halloway is Winging It by Angela Ruth Strong

Genre: RomCom

Romance takes to the skies, but will turbulence make it tumble?

When Claire Holloway’s dream of becoming a ballerina plummets into the realm of unachievable, she’s left with her boyfriend as her only support . . . until she decides to become a flight attendant for the free travel. She moves of state and into a crash pad with a gaggle of other flight attendants, and her fear of losing Wyatt skyrockets.

First Officer Nathan Stuart has been a bit cynical since he and his fiancée broke up, but when he meets a somewhat frazzled Claire on her first day in the Seattle airport, they quickly hit it off. When they end up on the same crew, he takes Claire under his wing and they form a friendly bond.

Wyatt’s once-supportive attitude sours into resentment and makes Claire wonder if her newfound joy is the right flight plan. Pulled between two men and balancing her new career, she must learn to listen for God’s direction and follow it closelymdashjust like her crew obeys air traffic control.

Purchase Links:

Amazon

 

Cover for Claire Holloway is Winging It by Angela Ruth Strong

Giveaway Details

Here’s your chance to win a book off my prize shelf. Comment with what YOU read for your chance to win! Entries close on 7th of each month. Open to legal U.S. residents and international residents. *International winners will receive a $10 Amazon gift card in lieu of a book from the prize shelf due to shipping costs.* See Giveaway Policies for more details.

Meet the Cast of Sung in the Shadows

Meet the Cast of Sung in the Shadows

Continuing in my series of post about Sung in the Shadows, I want to introduce the characters. If you’ve seen the social media posts, you’ll recongize some of the information, but blog posts allow for a little more space to add more information. For each character I’ve shared a bit about their creation, a favorite quote from them or scene in Tristan’s case, and the pictures I used for inspiration while writing. 

Image of the inspiration for Ezekiel Beaumont - a man with dark hair and a dark beard in a suit.

Ezekiel Beaumont

Inspiration: A bit of my husband shows up in every hero, but especially his steadiness when Nora’s sanity was in question. My husband and I have been through some serious family stuff where I thought I would lose my mind. He was the steady rock I needed to remind me of THE ROCK when I was drowning and fearful.

A bit about him:

  • composer & stage manager at Pike’s Opera House
  • Visits his mother at Longview Asylum every week
  • Determined to win Nora over with his wit and steadiness
  • Protective and faithful
  • Believes Nora’s mother is the famed opera singer who disappeared mid-performance

 

Favorite Quote from him:

“God never promised to remove the burdens of our lives, but to bear that burden with us and to help guide and direct us through it. Maybe Jesus has paired us under the same yoke so we can share each other’s burdens as He guides us through this mess of life.”

 

Nora (Brisbane) Davis

Inspiration: Each of the Guardians reflects one of my “Mayhemmer” friends. Nora best reflects Angela Carlisle (who is an amazing contemporary romantic suspense writer). Both are incredible knitters, absolutely terrifying in their ability to protect themselves, but are quiet and keep most of their thoughts to themselves. And if you don’t know her, Angela can sometimes be hard to read. But both women have incredible faith despite what they have walked through.

A bit about her:

  • Kidnapped as a child, but escaped
  • quiet, independent, a knitter, harbors secrets from her friends, The Guardians
  • trained by her opera-singing mother, but the music/theater world is forbidden
  • Afraid of trusting the man who’s taken an interest in her
  • sees her kidnappers everywhere and fears she is going mad like her mum

 

Favorite Quote from her:

“If there is one thing I’ve learned through Mum’s illness, it’s that her choices are hers alone. We can do everything in the world to protect our loved ones—put rules in place, hide them from the dangers posed, shield them from pain—but we were never meant to bear the burden of saving them from themselves. We cannot even save ourselves.”

 

Cover character - Nora (Brisbane) Davis
Inspiration for Tristan, a gray cat with a missing eye and torn ear

Tristan Beaumont

Inspiration: Tristan was actually suggested by my friend’s daughters, and then I took inspiration from the ONE cat I had who lived to be 18. His thing was shrimp. You couldn’t say or spell the word without him attacking you until he got his piece. He was also an indoor/outdoor cat who would catch the mockingbirds that divebombed him and eat them until all that was left were their beaks and feet.

A bit about him:

  • Wrestled with a dog and lost his eye and had his ear torn
  • Cat with a bad attitude
  • Views Ezekiel as the enemy
  • loves F-I-S-H
  • Brings Nora and Ezekiel together
  • Causes LOTS of trouble and mayhem

 

Favorite Scene with Tristan:

Don’t believe the worst. That’s thinking too much like Mum. Tristan must have gotten away. Look around and think like a cat.

Nora widened her search. There were plenty of leafless trees and bushes scattered along the road. He could be hiding in the brush, or maybe he’d climbed a tree. She didn’t see any gray balls of fur, but everything about the day was gray and brown.

“Tristan! Here, kitty, kitty!”

“You’re much more likely to get his attention by calling out ‘fish,'” Mr. Beaumont said. “It’s even better if you spell it because then he thinks you’re trying to not share, and he’ll have none of that.”

“Do you have any fish to give him?”

“No, but he already hates me. If it brings him back, I’ll gladly face his displeasure.” He raised his voice. “I say, Miss Davis, would you care for a bite of f-i-s-h?”

Nora held her breath as they waited for any indication Tristan was coming. The only rustling came from the rain hitting the bushes.

Mr. Beaumont tried again. “This fish is so good. I’m glad Tristan isn’t here to have any.”

If she weren’t so worried about Tristan, she’d find it amusing that Mr. Beaumont spoke of and treated the cat more like an unruly toddler than an animal.

Constanza Brisbane

Inspiration: While researching the opera, I read the biography of Emily Soldene (The Improbably Adventures of Miss Emily Soldene). The details of her life and the commentary on other opera singers of the time largely shaped the life and personality of Constanza. While I don’t want to give too much away, in case you haven’t read the story, you can find bits and pieces of the life Constanza tried to keep secret within the pages of that biography.

A bit about her:

  • Refuses to keep hiding her past as a former famous opera singer, but no one at the asylum believes her
  • committed to an asylum for paranoia
  • fears her daughter being kidnapped again
  • has secrets that could destroy her family

 

Favorite Quote from Her:

Whack! “Speak as you write.”

An absolute must for this ridiculous exercise to work, because speaking and writing meant you had no space in your mind to argue with the words being committed to paper. She rolled her eyes, but did as commanded.

“I am Josephine Davis.” Not that I want to be. “Wife of Mark Davis.” Marcellus, not Mark. “Mother of Nora Davis.” Eleonora is prettier. “I am not an opera singer.” Not anymore. “I am not a thief.” Unless you count the extra biscuit I stole from the dessert tray at lunch. “There is nothing special about me or my past.” Except I have three lives and a past that will kill my daughter and me if it catches up to us.

There is just something about her defiance that I love. That and the real quote I wanted to use would give too much away if you haven’t read the book yet. 

Inspiration picture for Constanza Brisbane, red haired woman in a black dress.
Inspiration for Mrs. Beaumont, a dark haired woman in about her 60s

Mrs. Beaumont

Inspiration: Mrs. Beaumont’s faith and struggles largely came from Sara Turnquist, an author who graciously shared about her battle with depression. The battle of darkness and light, and not believing God’s promises for herself came from her experiences. 

A bit about her:

  • Suffers from depression and attempted suicide (off-page)
  • Is a Christian and did everything everyone told her, but she’s still not healed
  • Speaks truth to Constanza even when she struggles to believe them herself
  • Doesn’t want to be a burden to the son she loves

 

Favorite Quote from Her:

“It’s not about what you confess, but to whom you confess.”

Even in the midst of her own depression and struggles, Mrs. Beaumont spoke the truth of the Gospel to others. It was a beautiful thing to watch and know that two things can be true at once: 1) You can share about the Gospel and believe it’s true, 2) but you can wrestle with believing it applies to you. 

Bonus: Mrs. Jerden

I have no images for her, or even inspiration. She sort of developed as her own character that I absolutely adored. She was a wonderful neighbor and calculating chaperone. I couldn’t end this post without sharing this quote from her:

“Ah, young love. It is as wild as it is beautiful. I’m happy to be the chaperone who’s tardy enough to allow the kiss but timely enough to keep it short.”

 

Cover image of Sung in the Shadows by Crystal Caudill, Red haired woman standing next to a theater curtain with a shadowy figure looming in the shadowsIf you haven’t checked out Sung in the Shadows yet, I encourage you to do so. This book didn’t start out as the book of my heart, but it has certainly ended up becoming one. 

When past darkness prowls, will stepping into the light lead to a brighter future?

~ Composer Hero
~ Opera Singer Heroine
~ Family Secrets
~ Secret Identity
~ Opera / Theater Life
~ Asylum
~ Mental Illness Representation
~ Suspense / Mystery
~ Love that Overcomes
~ Forbidden Love
~ Hope in the Darkness
~ Strong Female Friends

My question for YOU:

Which character is YOUR favorite? Or even, which character are you most glad makes an appearance in the story?

ABOUT CRYSTAL CAUDILL

Crystal Caudill is the author of “dangerously good historical romance.” Her debut novel, Counterfeit Love, was a 2023 Carol Award finalist, and her novella, “Star of Wonder,” won the 2024 Christy Award for short form. She loves history, hot tea, all things bookish, and the Teenage Mutant Ninja Turtles. She is a stay-at-home mom, caregiver, and chaos organizer. When she isn’t writing, Crystal can be found hanging with her family and playing board games at her home outside Cincinnati, Ohio. Find out more at crystalcaudill.com.

Connect with the author:

Website  |  Newsletter  |  Facebook  |  Facebook Group  |  Instagram  |  Pinterest  |  Amazon  |  BookBub  |  GoodReads

Longview Asylum

Longview Asylum

I totally missed my own release date for Sung in the Shadows, but I figure better late than never! I have a few posts I’m hoping to get together and tossed up over the next couple of weeks about the history of Longview Insane Asylum, my cast of characters, behind-the-scenes fun, and a fun playbill I created to go with the opera Ezekiel composes in the book.

 

So I’m a TOTAL history nerd–thus my writing HISTORICAL romantic suspense/mystery–and when I discovered Longview Asylum in some research for another book, I knew one day I would have to set a story there. I never knew how hard it would be to research. When I talked to the historical societies and local museums, the most they could provide was a few pictures and some old board of directors reports. I was able to find general history information online, but little to nothing about the actual building.

 

At least until I visited the Ohio Book Store, where the owner had a single page from a poster-sized atlas with a written walking tour of the asylum from around 1869. That beauty set me back $30, but it was worth every penny to have this rare piece of research. For posterity’s sake, I’ve included the entirety of the article at the end of this blog post. (I have since found a digitized copy here, so if you’re someone who needs to cite the article, here is the link to the digitized copy.)

 

For my dear readers, everything you read in Sung in the Shadows is as factual as I could make it–from the dome over the rotunda to the glass floors beneath it that provided light to the basement below. Of course, I have no way of knowing if the visitor’s room had a piano, but there could have been, given the other details of the building. And yes! Tours were given to the public once a week so they could observe the patients, much like they would observe animals in a zoo. The treatments in the story weren’t necessarily from Longview specifically. However, I read around 20 books and articles from doctors of the time for their treatments, descriptions of ailments, and descriptions of staff practices.

 

For those interested in learning more about the Longview Asylum for the Insane, I have the history of the asylum and that article typed up beneath the description of Sung in the Shadows—a story of family secrets, danger, mental illness, and a hope that shines bright in the darkness.

Cover image of Sung in the Shadows by Crystal Caudill, Red haired woman standing next to a theater curtain with a shadowy figure looming in the shadows

When past darkness prowls, will stepping into the light lead to a brighter future?

In nineteenth-century Cincinnati, fear keeps Nora Davis caged with secrets and lies. Her true identity as the daughter of a famous opera singer is too dangerous to reveal with her former captors still on the loose. But weekly singing lessons at Longview Asylum—her paranoid mother’s permanent residence—light a flame in Nora, and it’s one she can avoid fanning for only so long.

With his suicidal ma in the asylum, Ezekiel Beaumont’s soul is weary, but Nora’s presence at the asylum intrigues him. As a Pike’s Opera House employee, Ezekiel thinks Nora might be cut out for the stage. He also begins to wonder if Nora’s ma is really the famed Constanza Brisbane, who went missing mid-performance. He’s determined to find out.

Though Ezekiel brings the performance world a little too close for comfort, Nora is drawn to his warm personality all the same. The two of them steadily grow closer, but then Nora begins to fear she’s being watched, and her own paranoia blooms.

As the line between what’s real and false grows fainter, will Ezekiel’s and Nora’s faith and love overcome?

“From the haunting halls of Longview Asylum to the dangerous secrets of Nora’s past, Sung in the Shadows delivers a riveting blend of romance, mystery, and redemption.” —Misty M. BellerUSA TODAY best-selling author of the Sisters of the Rockies series

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Longview Asylum for the Insane: A Brief History

In 1860, the Longview Asylum opened on Paddock Road in Carthage, OH, along the banks of the Miami & Erie Canal. It was established with a guiding philosophy of maintaining a humane institution that cared for its patients’ physical well-being as well as their mental state. For a time, Longview was much better at keeping with that philosophy than its predecessors. In a 1861 report, it was recorded that the hospital offered entertainment and amusements, including a bowling alley, dancing parties, singing birds, and other activities for patient enjoyment. It was also claimed that scourging and tormenting of patients was not as prevalent at Longview as at other institutions. I cringe at the phrase “as prevalent,” meaning abuse did occur, even in the beginning.

Over time, underfunding and understaffing led to more frequent occurrences of patient mistreatment. The Cincinnati Enquirer published several articles in 1879 describing incidents in the hospital laundry, where female patients who drew the wrath of an employee would either be repeatedly submerged in a tub of water or have a wet towel wrapped around their faces, preventing them from breathing. Beatings were often administered, then later reported by the former employees who witnessed them and resigned from the hospital.

Initially, the building housed 400 patients, but within three decades, the population had grown to 800. The facility was overpopulated. New wards were constructed in the 1890s, increasing the capacity to 955. In 1927, additional buildings were added to house another 500 patients. However, by 1953, there were 3,568 patients and only 1,831 beds. Add to that a massive staffing shortage, and you have the nightmares that have lived well into the minds of future generations.

With a change in treatment philosophies—including medication, outpatient treatment, community support strategies, etc—a vast state hospital complex was no longer required. The resident population dwindled and moved to a new building. In 1978, the original Longview building was razed after years of disuse. 

Longview Article from 1869 Atlas

(Text from Article – Typed up by Crystal Caudill from her physical copy. All spellings and phrasing orginial to article.)

BOARD OF DIRECTORS
_____________
Judge JOHN BURGOYNE, President.
Hon. JNO. F. TORRENCE
JOSEPH SEIFERT, Esq.,
Hon. HENRY KESSLER,
Hon. JNO. K. GREEN
Hon. JOSHUA H. BATES, Secretary.
_____________

OFFICERS
______
SUPERINTENDENT AND PHYSICIAN,
O.M. LANGDON, M.D.
ASSISTANT PHYSICIAN,
A.P. COURTRIGHT, M.D.
STEWARD,
R.T. THOURBURN, Esq.
MATRON,
MRS. LOUISA W. JONES.

This edifice, which is built of brick, is six hundred and twelve feet long, and consists of a centre building, five stories high, surmounted by a dome and two wings, three stories high, each intersected by three cross-buildings, two of which are four stories high, one of them surmounted by a dome, smaller, however, than the one on the main building. The front of the centre is but three stories high, and somewhat narrower than the rest of the building. The front of the centre is but three stories high, and somewhat narrower than the rest of the building. In front of this is a brick portico, also three stories high. The portico is reached by a flight of four steps, and from this, three more steps lead up to the main entrance. From the entrance, a hall ten feet wide runs back to the rotunda, which is in the centre of the building, and is forty-four feet in diameter and eighty-eight feet high, with five corridors around it, communicating with the different stories; the floor, as well as the dome, is of glass, for the purpose of giving light to the basement. On one side of the hall is the office, apothecaries’, and reception-room for visitors to female patients; on the other side are two public reception-rooms and reception-room for visitors to male patients. At the sides of the rotunda are the entrances to the main stairways. Directly in the rear of the rotunda is a hall running back to a stairway, which ascends to the third story, and descends to the basement. On one side of this hall is the dining-room for the first ward, double bed-room water closet, bath and lumber-rooms; on the other side, ward dining-room, steward’s office, and bed-room. In the second story, passing from front to rear, there is one side of the front hall the trustees’ room, parlor, and room for the assistant physician; on the other side, sitting and dining-rooms, then the first corridor around the rotunda, with entrances to the stairways on each side; then a hall running back as on the first floor, and on either side of this hall store-rooms and matron’s room and ward dining-rooms. In the third story, there are on one side of the front hall reading, library, and bed-rooms; on the other side the Superintendent’s rooms, then the corridor around the rotunda, with entrances to main stairways, and on each side of the rear hall three bed-rooms and ward dining-room. 

The number, size, and arrangement of the rooms in these three stories are precisely the same, with the exception of the space devoted to water-closet and bath-room, on the first floor, being devoted to a bed-room in the floors above. 

The fourth story is devoted to wards for pay-patients, dining-rooms, water-closets, &c, except the space immediately in the rear or the rotunda, which is occupied by the chapel, a room sixty-three feet by thirty feet, and twenty-eight feet high, and which is reached by an iron starqay on either side, for the use of the patients, as well as by the main stairways.

In the fifth story are the servants’ sleeping rooms, and four large iron tanks, which contain the supply of water for the house. In the basement are the washing, drying, ironing, bake, and flour rooms, kitchens and general store-rooms. In that portion of the basement under the wings are the workshops, clothing-rooms, elevators, chamgers for heating air to warm the wards, dead-room, dust holes, drop for soiled clothes, bowling alleys, &c. Underneath the basement are the cellars, air duct for ventilation, coal pits, boiler-room, an d gas-house. The basement and cellar are continued back in the rear of the main building about one hundred and seventy feet, forming a low building of that length, and as the ground gradually recedes in that direction, the boiler-room which is at the extremity of this building is almost entirely above ground. This arrangement removes from the immediate neighborhood of the main building all those processes which wuld be liable to cause discomfort by heat, smell, &c, and also allows the smoke stack, which is also the ventilating flue for the whole house, to be at such a distance as to insure the delivery of the impure air so far from the house that there cannot be the slightest danger of its being returned to it, no matter what the direction of the wind may be.

Four boilers have been put in, 50 inches diameter, 26 feet long, with six flues in each, two of 10 1/2 diameter, and four of 8 1/2. They are all made of the best Hillman iron, the shell 15/16 iron. The flues of the same iron, 1/4 inch thick. The boilers are set in two batteries, two in each with steam-drum 24 inches in diameter, and mud-drum 20 inches in diameter. The steam and mud-drums are made of 5/16 iron, the supply-stands of 1/4 inch. The drums and stands are all riveted on. 

The wards for inmates who are not pay patientes are all located in the wings, and the two wings are precisely alike, and the different stories are also on the same plan, so that a description of one floor of one wing will answer for all the rest. 

Leaving the rotunda by the entrance to the main stairway, and passing the foot of the latter a short passage leads to a door opening into a small apratment or lobby, in which is a door opening into an iron stairway etending fromf the ground to the chapel in the fourth story; from this lobby also a door opens into the main hall of the first ward; the iron stairway also has a door opening directly into the ward. The hall is one hundred and twenty-four feet long, twelve wide, and thirteen feet high. Immediately on entering it, threre is on one side, toward the rear of the building, a door opening into the ward dining-room; farther along, on the same side, there are four windows for lighting this end of the hall; on the otherside, opposite these windows, is the sitting or day-room of the ward, sixteen feet by thirty-two; then follow, on either side of the hall, teh dormitories of which there are fifteen, each eight by twelve feet six inches, and each having a ventilating flue opening out from it. The windows are provided with solid sliding shutters, which can be locked either when entirely closed or when elevated about five inches. Just beyond the small dormitories on the rear side of the hall is a large iron stairway leading from the basement to the fourth story; next to the stairway where is an associate dormitory sixteen feet six inches by thirty feet, and an attendant’s room ten feet by eight. Here the hall terminates, and is lighted by three windows at the extreme end. Opposite the associate dormitory is a small hall or passage way at right angles with the main hall, and running toward the front of the building and opening into the main hall of the second ward. About the middle of this small hall are double doors shutting off the first from the second ward. Just before reaching the division a door opens into the space on one side of this hall containing the water-closet, and bath-room and wash stand, clothing-room, dry-room, elevator and drop for soiled clothes belonging to the first ward. After passing the double doors, we have a door opening out of the other side of the hall into the space containing the water-closet, bath-room, &c., of the second ward. Passing on into the main hall of the second ward, which is 108 feet long by ten feet wide, haivng three windows at each extremity for lighting and centilation, we have just opposite the small hall or entry the water-closets, bath-rooms, &c.; on either side of it there are two associate dormitories, one ten by twenty-two feet, the other twelve feet six inches by seventeen feet, with an attendant’s room nine by sixteen feet; between them, on the sides of the main hall are twelve dormitories, the same size as in teh first ward; then in front, a day-room, twenty-two by twenty-seven feet, or rahter two, with folding doors bewteen them. Opposite is the dining-room, sixteen feet six inches by thirty feet, with a pantry five feet by seven feet, elevator, &c., also an iron stairway reaching from the basement to the fourth story. Here the ward terminates. A hall or corridor, seven feet wide by forty-four long continues along the front of the remainder of the wing until it reaches the last or terminating cross building, where it turns at right angles and continues toward the rear about forty-two feet more. Opening out from that portion of this corridor which runs along the front, is an attendant’s room, eight feet six inches by eleven feet, a bath-room, six feet by eleven, clothe-sroom, five by eleven feet, two water-closets, four by four feet, drying-room, four feet six inches by eight feet, and drop for soiled clothes, wash-stand, and entrance to another iron stairway four feet wide, running from teh ground to the third story. In that portion of the hall which passes back toward the rear are the entrances to five strong rooms, intended for very violent patients.

The cross buildings of the wings are all, except the two at the extreme ends in which the strong rooms are located, one story higher than the rest of the wings, and the two next the main building are surmounted by domes. The upper stories of these are devoted principally to convalescents, and contain the amusement and reading-rooms. We have chess, dominoes, draughts, backgammon, quoits, ball, bowling alleys, billiards and bagatelle tables, &c., &c. Many of the inmates have some proficiency in music, and there are various instruments in the house which are used by them. 

One of the first necessities of an establishment of this kind is an abudant supply of water, and this has been provided for by the location of a scmall steam pump on the bank of the canal, which forces the water up into a reservoir on a level with the basement and anotehr pump, or rather pari, for there are two of them in the rear of the basement, which forces it up into the tanks in the fifth story of the mian building. In the pipe which leads to the tanks there is a stopcock and opening to which hose can be attached, so that in case of fire the whole force of the engine, which is thrity horse-power, can be employed to throw water directly upon the flames. This engine, besides working the pumps, furnishes power for operating a large pashing machine, wringer, and mangle. The boilers supply steam not only for the engine, but for heating water, cooking, and warming the house. The house is warmed partly by radiators located in different apartments, and partly from air heated by passing over coils of steam pipe, the hall of each ward having registers conveying hot air. The sitting-rooms most remote from the bain building each contain an independent coil of steam pipe. 

The building is lighted by gas manufactured on the premises, the words being in the rear of the main building, and at one side of the boiler and pump-room. The gasometer is thirty-three feet in diameter and twelve feet high, and has a capacity of about twelve thousand cubic feet.

Ventilation is insured by means of a large air duct located in the cellar and traversing the whole length of the house, and terminating in the chimney stack, which is thirteen feet in diameter, on hundred and twenty0five feet high, octagonal in shape, having the flue from the boilers running up the centre, and the flues from the kitchens, wash-house, and gas-works in the angles. These flues heat the air around them sufficiently to cause a strong upward current in the chimney stack, and consequently an efficient draught in the air duct and ventilation flues. The height of the stack and its distance from the ouse insure the delivery of the foul air at a distance sufficient to prevent its return.

Drainage is effected by means of an eight-inch pipe in the bottom of the air-duct, and in which all the sewerage pipes of the house terminate. This pipe terminates at the chimney stack in an egg-shaped sewer two feet by sixteen inches, which extends eight hundred feet in the rear of the building. 

To give some idea of the size and capacity of the building and the extent to which it is supplied with gas and water, I will state that there are in the house nearly six hundred rooms, fifty-six water-closets, six thousand one hundred and seventy-eight feet of water pipe, three hundred and fifty-six cocks, and five hundred gas-burners.

Between six and seven millions of bricks were used in erecting the building, and its entire cost was four hundred and fifty thousand dollars.

The lower cut represents a handsome and convenient edifice which stands on the Carthage Pike, about forty rods west and opposite the main building, and is used for teh accomodations of colored patients.

My question for YOU:

Wow, thanks for making it this far! What was the most interesting thing you learned from all this?

ABOUT CRYSTAL CAUDILL

Crystal Caudill is the author of “dangerously good historical romance.” Her debut novel, Counterfeit Love, was a 2023 Carol Award finalist, and her novella, “Star of Wonder,” won the 2024 Christy Award for short form. She loves history, hot tea, all things bookish, and the Teenage Mutant Ninja Turtles. She is a stay-at-home mom, caregiver, and chaos organizer. When she isn’t writing, Crystal can be found hanging with her family and playing board games at her home outside Cincinnati, Ohio. Find out more at crystalcaudill.com.

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