"The Potential for Love" by Catherine Kullmann

A few months ago, I spotted Catherine Kullman’s novel on Twitter (X) and fell in love with the cover, so of course I nosed around until I found out more about the storyline. In short, I ended up buying it (even though I could have gotten a digital copy free); I like hard copies—especially when the cover art is so vibrant and realistic. I was even more fortunate to get to talk to the author herself about the novel.

Rebecca:  Tell us how you came up with this particular storyline in The Potential for Love. Did it start with a "what-if," or did you see a certain object or scene and build a story around it?

Catherine: The story evolved quite naturally. I started with the Malvin family in mourning for their son and brother who was killed at Waterloo. On one of the first days of spring, Arabella goes for a walk and sees, silhouetted against the midday sun, the figure of an officer in uniform. For a joyful/ dreadful moment, she thinks he is her brother, home safe after all. In fact it is the rector's son, Thomas, an officer and childhood friend, on home leave. Their friendship develops anew, but the difference in their station in life rules out any closer relationship. Or does it? I flew very much by the seat of my pants for this one, developing the story chapter by chapter as I wrote the first draft.

Rebecca: I’ll admit I’ve done that too when writing! Next, I must know where the idea for the gorgeous cover art came from.  I'll admit it's what inspired me to check out the novel when I first saw it on Twitter. Did you have a say in your cover art? 

Catherine: As an indie author, I have control of my cover art and select the cover image which I pass to my cover designer. For authenticity, I look for contemporary images or 19th century genre images rather than staged photos. For the first few books, I obtained the relevant licences from the rights owners. For later ones, I use images from my private collection of antique engravings, prints and miniatures  where I own the rights. I bought the antique print I used for The Potential for Love in an antique shop in Chinon on the River Loire in France. It is entitled Premieres Escarmouches or First Skirmishes by Lucio Rossi. For the paperback and eBook covers I used a detail, but for the hardback dust jacket I was able to use the entire print. An advantage of owning the image is that I can use it as I like e.g. for promotional images (below)  which a licence usually restricts the use.

Rebecca: I absolutely love how historically accurate this novel was while not bogging down readers as if they were reading a history book.  What tips do you have for integrating the facts accurately while keeping the reader engaged?

Catherine: Research, research and more research. I have a research library of about 1000 books and a huge WORD Document called Historical Facts and Trivia, where I catalogue a lot of my online research so that I can find it again. Trivia are most important as it is the little quirky details that bring a story to life. You must be able to step into your period as easily as you step out of your own front door.  I think of it as a staircase where I mentally go down the different levels until I come to the Regency landing and then open the door.

Rebecca: Often, it's hard to find tiny details when researching a historically-based novel. Any suggestions of good resources for other writers in the Regency era? Were there any particular resources that were especially helpful for you? 

Catherine: I was very pleasantly surprised by the wealth of contemporary coloured images, not only formal portraits and miniatures, but also engravings, fashion prints, caricatures, book illustrations etc. These help you see what life was like then.

Rebecca: Arabella, the main character, seems very sure of herself no matter if she's saving a drowning child or dancing at a ball.  "Take me as I am," is how Thomas, one of the love interests, describes it. I could relate to this in people I know today and partially in myself. Do you always try to connect your historical characters to readers on an emotionally recognizable level in today's society?

Catherine: Yes, One of the challenges in writing historical fiction is to have your characters behave in accordance with the ethics and mores of their time but in a way that the modern reader will understand and accept their dilemmas. Jane Austen's novels are a great source of information as her characters are so varied. Think of the contrast between Elizabeth Bennet and Fanny Price, or between Emma and Anne Elliott. Arabella is very much her mother's daughter. She has an older half-brother and sister, but essentially grew up with her brothers. She is not missish. A viscount's daughter embarking on her fourth Season,  she also has the self-confidence of one used to moving in the highest levels of society and is clever enough to recognise and escape social traps set for her.

Rebecca: Do you have any other Regency novels coming out soon?

Catherine: I hope to have a new book coming out next year. I don't want to say anymore in case I jinx it!

Rebecca: No, let’s not jinx anything! The 400+ reviews on The Potential for Love tell me that it will be a success, whatever it might be.

Twitter (X): CKullmannAuthor