Sharon, Serena definitely has a life off the page in my head, so I’m glad that came through in the book! And I’m so pleased you noticed the thematic parallels to Mélanie and Charles and in the opening with Colin and Jessica. I worked hard to structure the scene and Colin’s thoughts to set up the themes of the book. So glad that came through!

Yes, I do wish the film of “The Other Boleyn Girl” hadn’t made Mary quite so “nice.” I had mixed feelings about the changes to Elizabeth Boleyn’s character–part of me missed the ruthless schemer from the books (who made it clear the Boleyn children had no other family allies). But I see why they changed her character in the movie–it allowed a character to articulate some of the things the audience in thinking, and it added tension to the scenes with Norfolk and Thomas Boleyn by having her not share their agenda.

As to that first scene with the Frasers in the nursery, I think it absolutely brilliant: not only do we first see Mélanie & Charles through Colin’s pov, but we also see their whole story through a child’s pov. How neat is that the children’s story foreshadows the parents’! (Of course I didn’t realize that when I first read it. It’s only upon second reading that I realized all Colin’s feeling could apply to Mélanie.)

I mean, if one is going to make a movie based on a book, it should contain the book’s… point of view. (Whether or not the book is “historically accurate”)

SPOILERS

As I predicted, Mary was “softened up” in the movie.

In the book, Mary was much more active in the plot to make Anne the queen. She helped Anne seduce Henry. She betrayed Catherine by giving her uncle a note the queen had received from Spain – because she was a woman, and her family was all she had.

She did NOT rush to Henry to beg for Anne’s life; she knew she could not.

Their mother did not object to Anne and Mary being used; she was just as eager for power as her husband and brother.

Or they are, as Sharon said, “throwaway props” who only exist when they are needed to say (lisp) something cute.

Or they are a prop to show the Goodness of the heroine (because she loves kids and wants a dozen) and the Evilness of the villainness (who doesn’t like children or want any of her own).

One (another) thing I enjoy about your books, Tracy is the acknowledgement that aristocratic parents were not like the soccer moms of today – they didn’t spend 24 hours a day with the kiddies.

As to children in popular fictions for adults, I am afraid many of them suffer from Stock Character Syndrome. I understand that authors create them to advance the stories, but I sometimes want to scream “They are little persons. Don’t treat them like throw away props!” at these authors. Most of the books that I like with children in them either include a few passages from the children’s point of views, or convinced me that these children have the potentials of growing into interesting adults. I’ve just started reading “A Thousand Splendid Suns” and I like it that the author opens the story with a child’s view of her parents, thus the complex world into which she is born. Similarly, I like it in “Secrets of a Lady” that we first see Charles and Mélanie through Colin’s eyes. I’ve recently read “Rightfully His” and I have to say that I like Serena very much. I think she is one of those children who show potentials.