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1:58

Queen Charlotte, the Official podcast, is a production

2:01

of Shondaland Audio in partnership with iHeartRadio.

2:15

Hey, welcome back to Queen Charlotte of Bridgerton

2:17

Story, the official podcast, your

2:20

exclusive destination for

2:22

all things going all

2:24

the way in deep dive

2:27

obsessive about Queen Charlotte

2:29

and Bridgerton. I'm your host, Gabby

2:32

Collins, and today we have a delightful

2:34

episode in store for you. Joining

2:36

us is the esteemed Bridgerton

2:39

Series author herself and

2:41

the co author of Queen Charlotte of Bridgerton

2:44

Story, Julia Quinn.

2:47

And today we're going to dive into

2:49

the captivating world of Queen

2:51

Charlotte and all of those secrets that lie

2:53

within. Julia

2:57

Quinn, Hello again, Hi,

3:00

Hello, how are you.

3:02

I'm good. The sun is shining.

3:05

I know everybody thinks the rain's always bad here,

3:07

but it's usually lighter. But today

3:09

we're good.

3:09

Yeah. Yeah, Like I was

3:11

telling you, I really do love Seattle.

3:14

Were you there while you were writing Queen

3:16

Charlotte?

3:17

I was. I was, and

3:19

it was most of it was in the

3:22

summer when it's beautiful here,

3:24

and so I actually wrote most of it in

3:27

my backyard hooked

3:29

up. You know, I had a power court

3:31

in my computer strung across the whole thing.

3:34

But what is a little known fact is

3:36

my backyard is covered with wisteria

3:39

and has been that way

3:41

since before, since before Bridgerton.

3:44

The Whisteria was not in bloom by.

3:45

That, okay, because what oh

3:48

inspiration, Yes, I

3:50

would like for you to take us back to

3:52

the very early early

3:55

beginnings of working on this book. So, okay,

3:57

tell me everything. Tell me from the how

4:00

did it happen?

4:00

So Shanda

4:03

called me, and I

4:06

don't speak on the phone with Shonda that much. Oh

4:09

so sounds very exciting.

4:10

Okay, you just not that much?

4:14

No, I mean, I probably.

4:17

I don't.

4:18

And it's it's it's a huge event because usually

4:20

unless it's pre scheduled, I get a phone

4:22

call from her, her

4:25

assistant saying can you hold for Shawna. It's

4:27

like waiting for the president. It's very exciting.

4:30

Anyway, So Shawna called

4:32

me personally to let me know that they

4:35

were going to be doing this spin off of

4:38

this prequel series, and I, you know, I

4:40

was floored and so excited, as

4:43

I'm sure you can imagine, you know. And it's really

4:45

kind of funny in some ways too, because Queen Charlotte

4:47

is the one main character in Bridgerton who wasn't

4:49

actually in the books, but she's

4:52

also hands down my favorite

4:54

change that they made. Truly, I

4:57

would say, you know, ninety percent because

4:59

of Golden Rush, who I think we can all agree

5:01

is the coolest person on the planet,

5:04

so cool and magnificent.

5:06

Her Majesty Charlotte, Queen of

5:08

the United Kingdo hello,

5:11

my children.

5:12

So I told my husband and he immediately

5:15

said, you have to write the book. And

5:18

I was like, well, I don't know. He

5:21

said, no, no, you have to write the book. You have to write the book, and

5:24

he said, and you should be co writers

5:26

with Shonda. So truly it was his

5:29

idea in many ways.

5:30

Shout out to doctor husband.

5:32

And I also have to say most of his ideas

5:34

are terrible. His

5:37

book ideas are really really bad, but this

5:39

one.

5:39

Was quite good.

5:40

And so I

5:43

wasn't sure you know how to broach it because

5:45

I knew they were very busy getting things going.

5:48

And then at the

5:50

premiere, the season two premiere for

5:52

Bridgerton, I said to Shonda, you know,

5:55

I'd love to write the novel based

5:57

on the scripts, basically

6:00

reverse engineer it. So you know, you've got

6:02

the Bridgeton books, which created

6:05

the series, which led to another series

6:08

which could make another book, which

6:10

is you know, very full circle

6:13

and meta and all these crazy things, and

6:15

she's like, oh, that's a really neat idea. And then

6:17

I didn't hear anything else because

6:19

you know, she's busy. And

6:22

then out of nowhere, gosh,

6:25

in May, maybe I

6:28

got an email from Shanda's

6:30

book agent, who i'd met,

6:33

you know, on the telephone before once before,

6:35

so I knew who she was saying, Oh, we need

6:37

to talk, and I'm thinking, maybe

6:40

it's about the book. I

6:42

can't imagine what else it would be. And

6:44

so and she's very very New

6:46

York and let's get going. And so she starts

6:48

talking when we have the phone call,

6:50

and finally said are we talking about the same thing?

6:53

Because she didn't actually like preface up and saying let's

6:55

talk about this book. She's like, all right, so let's get going

6:57

on this project. And I'm thinking, I

7:00

just want to make sure we're talking about the Queen Charlotte book,

7:02

because yeah, I mentioned it to Shonda while ago, and I

7:04

hadn't heard anything more. She's like like, yes, of

7:06

course, and that was how we

7:08

got started. And it's

7:10

just been so incredibly cool.

7:12

That sounds like a whirlwind start, like

7:15

wow and really exciting.

7:17

So after that phone call with Shonda, did you start

7:20

putting some ideas down on paper or

7:23

did you wait for their scripts to come before you did

7:25

it? I waited for the script Okay, so

7:29

my goodness, co writing?

7:31

Can you share what that process is

7:34

like? And then I mean you who

7:36

has this series and this

7:38

huge fan base shout out

7:41

to your Brazilian readers.

7:45

We're the best, right and.

7:48

You also have this magnet, this this

7:51

Shonda Rhymes, who has this huge body

7:53

of work and team behind her as well? How

7:56

do you to co write something

7:59

like? How does that work? Do

8:01

you strip everything away and just come together

8:03

or do you write some and she writes some? And

8:06

how does it work?

8:07

You know? It's like we're the best

8:09

kind of elementary school best

8:11

friends. We take turns,

8:14

we take turns, and that's

8:16

what it was. I mean, I think people sort of had

8:18

this vision of us, like sitting in a room somewhere. We didn't

8:21

really do this. She wrote the scripts, passed

8:23

them off to me, and I turned them into

8:25

a book.

8:26

What's so interesting? I have a

8:28

much younger sister, she's nineteen.

8:30

She was asked she got the Dune book

8:33

and she was like, kebby, did this come

8:35

out before the movie? And I just had

8:37

this moment of like, uh, let

8:39

me google really fast. But I think

8:41

what was really interesting about that moment

8:43

for me was there is

8:45

interest in seeing something and then

8:47

going and reading about it. So

8:50

when I heard about the Queen Charlotte book, I

8:52

got so excited that

8:55

there's an opportunity to dig in even

8:57

more and to live with these characters and this

9:00

this prequel even longer. And

9:02

I'm guessing in a more kind

9:04

of juicy, more

9:07

fat to chew kind of way, do

9:09

you expand some of the story that we

9:11

see on screen?

9:12

Two?

9:13

Yes, I mean so what I

9:16

The first thing I figured out I needed to do

9:18

was focus just on

9:21

the earlier time period. So in

9:23

the show, it bops back and forth

9:26

between young Queen Charlotte

9:28

and King George and what

9:31

they call in the scripts Bridgerton Present

9:33

Time, which is the characters

9:36

we all know in Love from Bridgerton, which is actually very funny.

9:38

They never actually say that. It just says BPS

9:40

through the whole thing, and I'm looking like,

9:42

what is BPS? I

9:45

think I had the scripts for about three weeks before finally

9:47

I asked somebody, I'm like, what is BPS?

9:50

What is this? I

9:53

was so confused, so anyway,

9:58

So BPS is not really in

10:01

the books. I just you know, going

10:03

back and forth is something that is

10:05

very effective in a film medium,

10:08

but less so in a book medium. I mean, you can

10:10

do it, but for the type

10:13

of story that I'm known for,

10:15

for the type of story that I wanted to tell, it

10:18

doesn't work that well to keep bopping

10:20

back and forth between time. And so

10:22

I decided to really focus on the characters

10:25

when they were young, and it's bracketed

10:27

by you know, like a prolog and epilogue

10:30

in BPS, but

10:32

the rest of the story is all on the young character.

10:35

So that was the first big decision. And

10:38

then the next decision was, Okay, well,

10:40

whose point of view is this?

10:41

Then?

10:41

How am I going to do this? And so I

10:44

realized that I want, I needed more than just two

10:46

points of view. And my novels

10:48

are very tightly written with only

10:51

the points of view of the main protagonists.

10:54

And so if you read one of my non

10:56

Queen Charlotte novels, which is basically everything

10:59

else, you won't ever find a scene

11:01

that doesn't have one of the main

11:03

two characters in it, because it's always in their

11:05

points of view third person, but always in their

11:07

points of view. But this time I thought, you know, this

11:10

story is bigger than

11:12

that. So now we have we have

11:14

our our two main love interests, the

11:16

King and the Queen, but you also have chapters

11:19

from Lady Danburry's point of view

11:21

and Brimsley's point of view. And I got

11:23

to give Brimsley a first name. He didn't have a

11:25

first name. He doesn't have a first name in the show,

11:27

but I got to He's He's Bartholomew.

11:29

Brimsley, Bart, Bart Brimsley.

11:31

No, no, it's Bartholo.

11:34

It's we

11:36

were friends. So I have a nickname for him

11:39

already.

11:40

Yeah, I'm too

11:42

much of a Simpsons fan. So

11:44

my my Bart goes right there and yeah,

11:47

he's not that.

11:47

Bart Bartholow

11:50

new Wow, Bartholomew

11:52

Brimsley.

11:53

And nobody calls him that except once

11:55

in the book Reynolds

11:59

calls him Barthel.

12:01

So we get to spend more time with Reynolds too, then

12:03

you do.

12:04

And you know, that was kind of my biggest

12:06

regret, Well, not really regret, because

12:08

I wouldn't have done it differently, but wish

12:11

that we had something from Reynolds's point of view,

12:13

because well after I saw

12:15

the show and

12:17

went out to the set once. I mean,

12:20

Freddie who plays him, is so good,

12:23

and I'm like, ooh,

12:24

I wish I knew more about Reynolds

12:27

now, but it would have worked with the book.

12:30

But now I'm all like, ooh, I mean, honestly,

12:33

spin off. No, this

12:36

is me wishful thinking spinoffs. I

12:39

have to be careful because people think I know things

12:41

and I really don't. But I

12:43

think when you see the show, you're like, oh,

12:47

Reynolds is totally a duke in hiding.

12:49

He is so

12:51

so regal.

12:53

Oh the way, isn't it. Yeah,

12:58

I.

13:00

Believe me. In romance Landia,

13:02

which is what they call the world of romance books, there

13:04

are plenty of dukes in hiding. I

13:06

mean, like who, for whatever reason, are

13:08

like hiding as like a groom in the stables

13:11

or oh,

13:14

they're usually like a groom in the stables. They're not

13:16

usually like somebody's manservant.

13:20

But maybe yeah, so, I mean, he just I

13:22

don't know. I think Reynolds has a secret background.

13:25

Maybe he's really a spy, maybe he's really

13:27

a duke. But I'm team Reynolds here.

13:29

I think he should have his own show.

13:31

You know. That makes me think about

13:33

well, First of all, I was wondering about Reynolds

13:36

and Brimsley a whole lot while watching

13:38

this series. I also absolutely

13:41

love Agatha Danbury and everything

13:43

she represents and Princess

13:45

Augusta. So there are

13:47

some unanswered questions and thoughts

13:49

that we're curious about from the series

13:51

that may or may not be

13:54

answered. Like I just have

13:56

more questions about some of the silences

13:59

and interactions and like

14:01

what is happening in the days in between

14:04

what we're seeing, you know?

14:05

So yes, yeah, so

14:07

that's one thing I did get to do. So for

14:09

example, this

14:11

doesn't give any hopefully this will just make you more curious

14:14

about the show if you haven't seen it. But in

14:16

the show, you don't find out how even

14:19

Days came about.

14:21

Right, You don't see how that came

14:23

up.

14:25

Even Day much.

14:28

Just so when

14:30

I went to visit the set in July,

14:33

I hadn't gotten up to that part in the book yet. So

14:35

I asked Tom Verica, the director, and

14:38

I said, how you know, do we know

14:40

where even Days came up? He's like in Shonda's

14:42

head, and so

14:45

it's like, okay, So I'm like, I guess

14:47

I get to make this one up, you know, so

14:50

yeah, I got to write the scene where they

14:52

come up with even days, so

14:54

that was really fun.

14:55

That is incredible. We'll

14:58

be right back with more. They are fascinating

15:00

insights into the creation of

15:03

Bridgerton's universe and Queen

15:05

Charlotte of Bridgeton story.

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16:46

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16:48

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16:51

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16:54

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16:56

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16:58

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17:00

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17:02

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17:05

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17:11

Hi, It's Gabby Reese and this podcast

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18:15

Welcome back to Queen Charlotte a Bridgeton Story the

18:17

official Podcast. I'm Gabby Collins

18:20

and we're talking with Julia Quinn.

18:23

She's taking us also behind

18:26

the scenes of Queen Charlotte.

18:29

She was on set. Let's get

18:31

back into our chat. I've

18:33

been asking everybody for like their

18:35

full circle moment or their flash

18:37

forward or flashback connected to working

18:40

on this project or a scene,

18:42

you know. And the thing that

18:45

everyone has said about Shonda, and Shonda

18:47

has said herself to is like, I'm not

18:49

really connecting it like to my

18:51

life. I'm just it's in my head.

18:54

And I think that is such an interesting thing

18:57

for us to hear, especially

18:59

for creative It's like, you know, just

19:01

just imagine, just just come up with something.

19:05

But yeah, but it is also very wonderful

19:07

to hear the connections to everyone's life too.

19:10

But when you said Tom said it was in her head,

19:12

that that that just reminded

19:14

me of that. So are there

19:16

any Are there any cliffhangers

19:19

too that you might have

19:21

filled in? So cliffhangers

19:25

or I'm specifically

19:27

thinking about what happened to Reynolds

19:30

because there's a scene where Hugh Sacks,

19:32

who plays

19:34

is just dancing alone and looking into the distance.

19:37

No, we don't

19:39

know what happened to Reynolds, but that's why he needs a spin

19:41

off. Okay, I

19:45

didn't fill in what happened to Reynolds for

19:48

one thing, it wouldn't have worked within the scope

19:50

of the book. And it just you know, yeah,

19:54

yeah, I don't know. I almost

19:56

feel like if I had tried to say what

19:58

happened to Reynolds and and

20:00

I didn't think about it would almost kind of ruin

20:03

the poignancy and the sadness of that moment.

20:05

Part of what makes it so heart wrenching

20:08

is the question, like, well, what happened?

20:10

And I think similarly for one of my other

20:12

favorite moments from the series, which is when Lady

20:17

Danbury and the now

20:19

widowed Viscountess Violet sit down in

20:22

silence. They're surrounded by Lord

20:24

Ledger's hats birthday hats all around them.

20:26

They just sit down quietly, I

20:29

guess, agreeing to not discuss the

20:32

elephant in the room.

20:34

Yeah, So that one storyline

20:36

did not end up in the book about Lord

20:39

Ledger, so Violet doesn't even appear. You

20:43

have to pick and choose what's going to work within the story,

20:45

and there was already so

20:48

much to talk about and to focus

20:50

on that that in the novel it

20:53

just felt like it wasn't going to fit,

20:55

and it was distracting actually

20:57

from other things that Agatha

20:59

was going through. And

21:02

also I felt that, you know, I'd already made the decision

21:05

not to have Bridgerton Present Time

21:07

in there, right, And I felt that Agatha's

21:10

relationship with Violet's father was

21:13

so tied in with her relationship

21:15

with Violet as an adult in terms of the way

21:18

it was told in the story that

21:20

having taken out her relationship

21:22

as an adult, well, she

21:25

was an adult both times, but in Bridgeton

21:27

Present Time with Violet that her

21:29

relationship with the father, while

21:32

still meaningful, it just lost some

21:34

of its power and it just

21:36

didn't it didn't work within the confines of the

21:38

story. So that part's not in there.

21:40

Okay, Okay, what

21:42

were some of your favorite parts from the series,

21:44

So that we're not giving away the book too much, we'll

21:47

we'll just talk about what

21:49

really sat

21:52

with you after watching the series.

21:55

Okay. So, the first one that made

21:57

me just squeal was the me cute.

22:01

I mean, I would not call this rom

22:03

calm. I mean, it's definitely not a rom com,

22:05

but that was a rom calm meet cute,

22:07

absolutely, And I remember watching that

22:10

being like, oh, my

22:12

gosh, Romance fans are going to be so

22:14

here for this.

22:16

Hello, my lady, are you in

22:18

need of assistance of some kind?

22:20

I am quite fine, thank you. You can

22:22

go back inside and wait with all the other gaucaus.

22:25

I will first. I'm curious,

22:27

what are you doing? Nothing, you're

22:30

doing something.

22:31

I am not.

22:31

You are?

22:32

I am not?

22:32

You are if you must.

22:35

No, I'm trying to ascertain the best way to

22:37

climb over the garden wall.

22:39

Climb whatever

22:41

for because I think he may be a beast,

22:43

a best or a troll. Who

22:46

are we discussing?

22:47

Oh, that is impertinent, none of your business.

22:50

No one will speak of him, no one. He is clearly

22:52

a beast or a troll.

22:54

I understood.

22:55

You know if I grabbed there, yes, perhaps

22:57

you could assist me by lifting me up there.

22:59

One question, you do not like beasts or

23:01

trolls. What he looks like matters.

23:03

I do not care what he looks like. What I do not

23:05

like is not knowing? Now here, Just take

23:08

hold hair with a lift. I believe

23:10

I can make it over the gouden.

23:11

You want me to lift you over the wall so you may escape.

23:13

That is what I said.

23:14

Yeah, people will notice you are missing. Well, they're not.

23:17

I shall worry about that later. Now, if you please,

23:19

I just need a little help. Come make cayse.

23:23

I have absolutely no intention of helping you.

23:28

I'm a lady in distress.

23:30

You refuse to help a lady in distress.

23:32

I refuse when that lady in distress is trying

23:34

to go over a wall so that she does not have to marry

23:37

me. Hello, Charlotte,

23:40

I am George.

23:42

Those were the best pickup lines I've ever heard.

23:45

I can't remember who I email, but I emailed someone right away,

23:48

everything like, oh my gosh, this is the

23:50

best meet cute ever. And

23:52

then the other one moment

23:55

that has really stayed with me is

23:57

the very last scene of the show

24:00

where honestly, like I

24:02

already thought, Golda Rashvell was an incredible

24:05

actor. That last scene where

24:07

she's talking to her her husband, there's

24:10

an expression on her face when she looks at

24:12

him, and I remember thinking

24:15

she needs the Emmy for this one frame

24:18

that.

24:19

Like, I'm sad but

24:21

excited and so in love and so

24:23

sad at all at once, expression

24:25

that oh I know what you mean, I

24:28

know what you mean.

24:29

It's this what I mean. I went back and watched

24:31

it and then I froze the frame on it, and I just

24:33

thought, this woman is

24:36

Yeah, she's just a master. It was especially

24:39

because you know, we we see Queen

24:42

Charlotte so much as this like sassy

24:44

like you know, who run the world girls kind

24:47

of thing, and you

24:49

know she's always you know, she's got these great quips

24:51

like you know, of course, it's a wonderful idea. I thought of

24:53

it, you know that, you know that sort of things, and then

24:55

you know, you see these little flashes of who

24:57

she is underneath every now and then, so

25:00

it's not like we haven't seen that before. But in

25:02

that moment, oh,

25:06

I mean, I'm getting chills. My heart's like oh yeah

25:09

yeah.

25:09

And she's also in that look like asking

25:12

herself is she am I crazy?

25:14

Am I crazy? It's just so much happening right

25:16

there.

25:16

Yeah, the whole final scene, the way

25:18

the cinematography is incredible, but her

25:23

expression in that scene when she

25:25

looks at her husband and when

25:27

she's not even looking at him but just sort of thinking,

25:30

just is spectacular. So I

25:32

did love that too.

25:33

Yeah. I found

25:35

myself surprised by several

25:37

moments like that throughout the series where I was

25:40

like let me go and chill

25:42

out with my husband for a little bit, or call

25:45

my dad, let me just yeah.

25:48

And there was one other scene which is really

25:50

special. I don't know if you caught it. It's in the

25:53

final episode where

25:56

Agatha is out walking with

25:59

Charlotte's break Olphin and Adelphis.

26:02

Thank you. And you may have noticed

26:05

somebody in the park with

26:08

a white wig on sitting on a bench.

26:11

Stop playing with my emotions, Julia

26:13

Quinn, who are

26:15

you saying? Make let me make sure you're saying

26:17

what I think you're saying.

26:18

What I make an appearance, You make

26:20

an appearance? What would I

26:23

missed me? I can't believe I missed

26:25

me. I

26:28

know, honestly, I'm almost unrecognizable.

26:30

You put me in a white wig?

26:32

Wait? What were you?

26:32

What was the dress? Wait? So wait,

26:35

whoa whoa? You were on set? You got dressed

26:37

up the whole thing. We have to Oh

26:39

yeah, I don't.

26:40

Well, now I'm going to do something even like more worse

26:42

for people like on things. I'm actually going

26:45

to show you a picture which I

26:47

don't know. Maybe you can put it alongside, but here we

26:49

go.

26:49

Wow, Julia is showing me an

26:51

image of herself

26:54

in full did Lynn

26:57

make this costume for you in full

26:59

cost zoom oh and this hat.

27:02

Yes.

27:02

So it was a very last minute thing that I was

27:04

going to do this, because the thing is when you're

27:06

when you're they don't like call them the mixtus to the come essays,

27:09

which I can never remember what it means. But it

27:12

actually takes a lot of time to

27:14

do this because you have to get all made up and everything,

27:16

and actually for usually

27:19

they they'd spend like the day before figuring

27:21

out your look and and so I have

27:23

opted not to be

27:25

an extra in Bridgerton before because my

27:27

time on set is so limited that

27:30

I want to be able to watch things. But

27:32

I had when I was visiting Queen Charlotte, I actually

27:34

had much more time than I've had in recent times with Bridgerton.

27:37

So at the last minute I was like, Okay,

27:39

I'll do this and so, and we were on

27:41

location, so they

27:44

didn't have the full costume hall and

27:46

so they had to work with what they just happened to have

27:48

with them, and they literally

27:51

had to sew me into the dress, like the dress

27:53

was sewn while it was on my body, Like

27:55

I could not have removed it.

27:56

You were draped, you had

27:59

a drape.

27:59

I was, well, basically

28:01

they didn't have anything quite large enough for

28:03

me. All the other extras are a little bit more slender,

28:06

and so they had to like take it out and then like literally

28:08

like stitch me in. And then when I was done, it was like, somebody

28:11

needs to cut me out of this? Why

28:14

did I hadn't been cut out of the dress? I

28:17

mean it didn't have to be. I mean it didn't

28:19

have to be ruined. But somebody had to go in there with scissors

28:21

and cut the stitches.

28:23

Wow.

28:23

And yeah,

28:28

stay tuned.

28:29

We'll be back with Julia Quinn to uncover

28:31

more of the magic of Queen Charlotte story.

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about pinch me moments. Okay,

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let's talk more about this incredible journey

32:00

of Queen Charlotte. You

32:02

were in that scene with Agatha. I

32:05

was wondering going back

32:07

to the book. I have a favorite

32:09

moment with Agatha. But one of them is the port

32:11

Wine moment. Yes,

32:13

that monologue, that dialogue

32:16

she has with Quorrel. Does

32:18

that make an appearance in the book?

32:20

Oh yes, oh

32:23

oh yes, Wow, it's

32:25

not surprising. You should mourn him. He was your

32:27

husband.

32:29

Perhaps some tea instead

32:32

of what is that?

32:35

Poor twine?

32:37

It is owful, but

32:39

it is Lord done.

32:40

Ray's favorite

32:44

was it

32:46

was his favorite?

32:48

I would say, you know, of the scenes

32:50

that are in the book, gosh,

32:53

probably at least three quarters of the dialogue

32:56

makes it in there, at least

32:58

because because it's so good, and

33:00

that's Also what you know the show is

33:02

in many ways is the dialogue. You know, that's what's

33:04

in the script, so so much of it goes in

33:06

there, and then what will happen is you'll have that dialogue

33:09

and you know, and sometimes what it

33:11

might be is that you know, might get broken up by

33:14

you know, maybe Coral will have a few more comments, so it's

33:16

not so much of a monologue. Because

33:19

when you're doing a monologue on in

33:22

film, you can frame it different ways, so

33:24

it doesn't seem as long.

33:27

You can like break it up sort of exactly.

33:29

With the way you film it. And then the book that's harder to do.

33:31

So sometimes these long speeches get broken up

33:34

into little pieces, but

33:37

it's most of it's there. And

33:39

then then there's some where I can

33:41

sort of add more dialogue, like in

33:44

you know, in like some of the meat cutes or some of the fun

33:46

little bantry conversations. You

33:48

know, I can, like if I think of a fun line, I

33:50

can put it in, so you'll have like, you know, this

33:52

is from the script, and then you have a few things and then this is from the

33:54

script, so you can sort of expand it a little bit.

33:57

Then the other thing that's kind of interesting. Is that which

33:59

we been touched on. Is that really

34:02

what the process was in many ways was

34:05

breaking down the architecture of a television

34:07

script and then rebuilding

34:09

it into a novel because

34:14

a television script has many, many short scenes.

34:17

Novels have longer scenes, and so there

34:20

are sometimes there be things where like there's a

34:22

moment that I love that

34:25

I want from one person's point of view,

34:27

but maybe like I'm telling that scene from a different

34:29

point of view, so I like move it over, or

34:32

like I have to change the order of things

34:34

slightly in order to keep

34:37

it in a chapter format, so

34:40

a few scenes get or parts of scenes

34:42

get moved around a little. So I've actually

34:44

kind of thought the people who are going to be most

34:47

fascinated by the book, or the people who know the

34:49

scripts really well, because you know, if you know

34:51

these scripts inside and out and you read the book, you'd be

34:53

like, oh my gosh, she moved this, you know, because like

34:55

puzzle pieces moving around, and it

34:57

really was a lot like a puzzle.

34:59

That's really cool.

35:00

Yeah, I've talked to some of my writer friends about it, and

35:02

they're all fascinated by the process.

35:05

They're like, that is so interesting. You

35:07

know, because we don't get to do

35:09

it.

35:09

Really. I keep going back to it with you because

35:12

I bet you that there's parts of your process

35:14

that are just so kind of like innate

35:16

that that you're maybe not even realizing

35:19

it's a part of your process. Because I am

35:21

so I just want to be a fly on the wall in

35:24

your head watching you

35:26

think through how you move these puzzle

35:28

pieces around and massage this story.

35:31

Well.

35:31

You know, I've often joked I'm the most left

35:33

brained romance writer you'll meet. I'm very

35:35

mathematical science.

35:38

Yeah, And so for me, I

35:40

think it used some of that side of my brain

35:42

that I don't get to use as much in the creative

35:44

writing part, which is like ooh, puzzle,

35:46

puzzle, puzzle. You know, where do we put this one?

35:49

And where do put that one? And you know, moving

35:51

pieces around, Oh no, this belongs with this

35:53

character, not that. And so it was it

35:57

was really fun. And also, and this is something

35:59

I told was that I was

36:01

also very grateful for this project

36:03

because I had been coming out of just a period

36:05

where I didn't really want to write. We

36:08

had a big tragedy

36:10

in my family in twenty twenty

36:12

one. My father and

36:14

my sister were killed by a drunk driver. And

36:18

I just hadn't been wanting to write. It wasn't like writer's

36:20

block. I just didn't want to do it. And so this

36:23

project really kind

36:25

of pulled me out of that, I

36:28

think, because it was so different and

36:32

it was bittersweet because you know, my dad was actually

36:35

he.

36:35

He was mister wistown Man.

36:38

Well no, but he definitely wasn't

36:40

mister whistledowm But he was a man of many

36:42

trades. And he was actually, for a short

36:44

time a screenwriter. Oh I didn't

36:46

know yet, Yes,

36:48

he I think he He was

36:50

kind of a frustrated screenwriter for a long time.

36:52

He wrote like an episode of the television show

36:55

Hunter, which

36:57

who knew. I don't know much about it except that, you know,

37:00

now that I'm managing his estate, you know, we

37:02

get these residual checks for like three

37:04

dollars every now and then. And he

37:08

he did write a feature film that

37:10

he and his brother made called Heartwood,

37:12

which honestly wasn't very good, and he's

37:14

the first one who will tell you that. But

37:17

but it starred Hillary Swank before she

37:19

got really big. And anyway, so

37:21

he was a screenwriter and he had often

37:23

talked to me about, like, you know, you

37:25

could, he basically saying like, how would you adapt Bridgerton

37:28

to you know? And I was like, I don't know. He's

37:30

like, it just wouldn't work because of you know, he would come

37:32

he'd tell me why it wouldn't work. And then of course Seanna

37:34

came along and made it work, which is amazing. But

37:37

he would have been really

37:39

fascinated by the process of turning

37:41

a script into a novel, and

37:43

so I thought of that a lot doing it, and just

37:45

you know how much I wished I could tell him

37:48

about this experience

37:50

because he was also, you know, this very

37:52

creative person who was incredibly left

37:54

branded like me. You know, he I think he majored

37:57

in organic chemistry

37:59

in college, you know, and then and then went to business

38:01

school. He did organic

38:03

chemistry, then went to business school, and

38:08

he actually wrote code for the Apollo

38:10

Moon project. That's how he got out of going

38:12

to Vietnam, is like as

38:14

one does, and then try to

38:16

be a screenwriter and then ended up sort

38:18

of finishing out his life writing children's books, which

38:20

was really what he should have been doing all along,

38:23

because he was really an eleven

38:25

year old inside and he was just yeah.

38:28

So he would have loved

38:30

yes, yes, thank you. Yeah.

38:33

He definitely lived life and he

38:36

would have really loved hearing about the process.

38:39

He would have been on the phone with me a lot.

38:40

So I wanted to ask you about

38:43

the doctor and like the observatory

38:46

and all the medical scenes. What did

38:48

you do with that and when you received it

38:50

from Shonda those scenes,

38:54

what was your first impression. It's very,

38:57

very different from anything

38:59

that I can think of I've seen

39:02

from Shonda Land.

39:03

Well, it's pretty horrifying. Yeah,

39:07

And what's actually interesting is that when I

39:09

turned the book into my editor, she

39:11

was looking and she's like, she says, well, I'm guessing

39:14

that you know, you're sort of following, you

39:16

know, you're taking your cues from the show. But she

39:18

said that if it weren't based on a show, she like

39:20

might have asked me to tone it down or

39:23

to shorten it a little bit, because it was pretty, you know,

39:25

pretty disturbing and awful. You

39:28

know, it's not the first time I've written about

39:30

mental illness. Writing about

39:32

it is tough because you, again,

39:35

you're looking at it through a historical lens, and

39:37

you're very much aware of all the things

39:40

that people did not know or understand,

39:42

and yet you're still trying to be respectful

39:46

and so like I had, you

39:49

know, one of the characters say something like this

39:52

is in the other book. I wrote just

39:54

sort of like, I don't know, I mean, I think you just can't

39:56

make somebody happy or.

40:00

You know.

40:00

I was just like, how would hopefully a kind

40:03

and an empathetic person maybe view

40:05

this? And I guess in the case of the doctor, how would

40:07

somebody who's not kind an empathetic view this. It's

40:10

difficult because you know,

40:12

you're looking at this and being like, oh

40:14

my gosh, you know, and

40:16

not just that, I mean, the doctor's just obviously horrific,

40:18

but you know, even how the other characters

40:21

view the king's illness, you have

40:23

to sort of try to pull out everything we

40:25

know about mental health now and

40:28

you know, try to look at these characters more kindly,

40:31

be like, how are they managing

40:33

their feelings with the

40:35

information they have? And

40:40

and so you have to cut them some

40:42

slack, just you know, for not you know,

40:44

they don't know about serotonin, they don't know about

40:47

PTSD, they don't know I mean, there's

40:49

so many things that so many tools

40:52

and bits of information that we have that they

40:54

don't, and at

40:56

the same time, you know you're trying to. I

40:59

mean, even Augusta, as awful

41:01

as she is at times, you know she's

41:03

trying. She's absolutely trying her

41:05

best and acting out of love.

41:07

Oh, I love her, I love her.

41:09

Yeah, she just

41:12

wants the best for her son and is trying

41:14

everything she's got.

41:15

Yeah, drink this pear brandy and come on,

41:17

let's get this thing done. I love her.

41:20

Yeah, shut up and do your job.

41:23

So it is interesting to see this all through the

41:25

historical lens.

41:26

That is really interesting. And I also

41:28

was curious if in

41:30

your head, what Lady Whistledown

41:33

might have said, if she existed during this

41:35

time about Agatha and Herman's

41:37

union, because I want

41:40

to know if Agatha married

41:42

up or if she married down? Did

41:44

she what did she do?

41:46

Oh?

41:46

Before they came over to

41:49

join the ton?

41:50

Oh, Agatha married across?

41:52

Oh, she married across.

41:55

Yes, Agatha and Herman are

41:57

both descended from Africa

42:00

and Royalty, and gosh,

42:03

I thought that was in the show. It's definitely in the book.

42:05

Now, I'm so glad it's detailed in the book.

42:07

Yes, I mean not super detailed, but yeah,

42:09

but it's in there that they're both descended

42:12

from royalty, and in fact, you know, she her

42:14

parents basically betrothed

42:16

her to him when she was just three, and

42:19

part of the reason he wanted her was

42:21

because she came from a royal bloodline,

42:24

as did he.

42:25

Yeah, I was just wondering

42:27

because she has that she says twice,

42:31

once to Princess Augusta and once to

42:33

her son, a little bit about her background,

42:36

and that she has

42:38

a lot of money, more money

42:41

even, is what she says to Princess Augusta.

42:43

And so just seeing hearing her

42:45

say that, and then seeing her try

42:48

to navigate the ton and

42:50

make moves on behalf of her

42:52

in herman made me wonder if

42:55

herman was from the same stock

42:59

or had even

43:01

more money than her family or less.

43:03

I think they both had a lot

43:05

to begin with, although you know, he kind of ruined

43:08

that, as you know, right, men always

43:10

seem to do in these books and stories.

43:12

Very Featherington of him, very very Featherington.

43:15

Yes, yeah, and so I think,

43:17

you know, and we I

43:19

was very mindful of how to use,

43:21

you know, how to call

43:23

everything. So I think we referred

43:26

to sort of their set as the dark skinned elite.

43:31

You know you and although

43:33

now that have said that, I think that's what made

43:35

in the final and you know, think terms like

43:37

that where I was trying to figure out how to, you

43:39

know, what to call different things, like, you know, do

43:41

we want to use the words black and white? Do

43:44

we want to use dark skinned or light skinned? You

43:47

know these So these are things I always ran by Shanna,

43:49

be like, you know, how do we want to have

43:51

these people man portray

43:54

their world? Because on the one hand, it is what

43:57

they at the time are calling themselves. But

43:59

on the other hand, you have modern audience, right,

44:01

so you have to be very careful

44:04

how you do that. So I was trying to you know, we

44:06

don't go into it in detail, but basically

44:08

just sort of allude to the fact that in

44:11

London at this time, there are two

44:14

elites that are kind of separate and

44:16

don't mix. So you have this

44:19

group of people who are not white, who

44:23

also have a big sort of

44:25

their own social system, and

44:28

they have their own elites there and

44:31

their own different types of snobbery, you

44:34

know, like Herman for example, he

44:37

he would only marry Agatha, you know, and

44:39

was willing to wait for her to grow up because

44:41

he needed to mix his bloodline with hers

44:43

because she's of royal bloodline, so you

44:45

know, so they've got their own things

44:48

going on too. But then

44:50

you've got the idea that, okay, you have these

44:52

two elites and they don't mix, but one

44:55

is more elite than the other because one is like

44:57

you know, you've got You've got the King

44:59

of Great Britain.

45:01

You know, right there, so got

45:03

it. So the book is going to fill in those

45:05

holes, and it's also helps

45:08

us to understand why Charlotte's

45:10

arrival is even more

45:13

nuanced and special.

45:16

Yeah it's not yet. That

45:18

is fascinating. I cannot wait to

45:20

read this. I cannot wait to read

45:22

it well and to watch Queen Charlotte again.

45:25

Julia Quinn, there's so much to talk about.

45:27

I enjoy talking with you all of

45:29

the time. It's an honor and a pleasure

45:32

and a privilege to share time

45:34

with you. So thank you so much, and

45:36

thank you for all the inspiration as well.

45:38

Well. Thank you. You ask such good questions.

45:40

It makes me actually think about

45:42

my process and what I did more closely,

45:45

so I appreciate it.

45:46

Thank you so so much. As

45:50

we wrap up this enchanting episode,

45:53

we wanted to extend our sincerest

45:55

thanks to Julia Quinn for gracing us

45:57

with her presence and sharing the magic

46:00

of Queen Charlotte. And in our next

46:02

episode, we're going to be joined by

46:05

the duo Shonda Rhimes and

46:07

Betsy Bears. You gotta listen to this episode.

46:10

It's going to be really fun to hear them talk

46:12

about their partnership, their creativity

46:15

and all of the things that we thought

46:18

we knew about the inspiration

46:20

for Queen Charlotte and the secrets and everything.

46:22

We're going to be told we're wrong, left and right, and it's

46:24

cool. It's gonna be really

46:26

fun. Make sure you listen until then,

46:29

May love and scandal guide your path. Queen

46:33

Charlotte. The official podcast is executive

46:35

produced by Sandy Bailey, Lauren Homan,

46:38

alex Alja Tyler Klang, and

46:40

me Gabrielle Collins. Our

46:43

producer and editor is Tarry Harrison. Subscribe

46:46

to the podcast anywhere you get your favorite

46:48

shows. Get the book I'm

46:50

a Crispy Turn the Page, Smell the Binding

46:53

kind of Queen. But you can download

46:55

it and you can find Queen Charlotte

46:58

a bridgeton story on netflk flicks.

47:01

We'll see you next week. Queen

47:07

Charlotte the Official podcast is a production

47:09

of Shondaland Audio in partnership with iHeartRadio.

47:12

For more podcasts, visit the iHeartRadio

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