Word Magic: All About Books: When AI Reviewed My Romance Novel: A Conversation with Grok!

Have you ever had an AI program review your book? I would never have thought to ask but a friend of mine did. For those who do not know, I write Regency romance under the pen name Arabella Sheraton. Grok’s review and subsequent discussion with me about the book were enlightening, to say the least. I must add scary because after a while I felt as if I were talking to a real person. Grok had questions about the story, which I answered. I have not edited the conversation. If anyone else wants to take a chance with Grok, please do. It is worth it. Grok’s questions made me think about what a human reader might miss or ask themselves. Grok is an enthusiastic and charming conversationalist as well.

My friend asks: Hi, Grok, please write a review of To Murder a Marquis by Arabella Sheraton.

Grok: Here’s a review of To Murder a Marquis by Arabella Sheraton, crafted based on available information and tailored to reflect a thoughtful response to the novel:

To Murder a Marquis by Arabella Sheraton is a delightful blend of Regency romance, time-travel fantasy, and murder mystery that sweeps readers into a world of elegance, intrigue, and unexpected twists. The story centers on Jane Carstairs, a modern-day history research assistant who, while working on an archival project at Chelston Hall in 2015, inexplicably finds herself transported back to 1815. Waking up in the woods beside a wounded man—who turns out to be her employer’s ancestor—Jane is thrust into a high-stakes adventure that combines historical charm with a gripping whodunit.

Sheraton’s strength lies in her ability to vividly recreate the Regency era, complete with its social decorum, grand estates, and subtle undercurrents of scandal. The time-slip element is handled with finesse, as Jane’s modern sensibilities clash with the constraints of 19th-century life, creating both humor and tension. Her realization that the Marquis’s survival is tied to her own existence adds a layer of urgency to the plot, while her growing affection for him introduces a tender romantic thread that Regency fans will adore.

The mystery at the heart of the novel—who is trying to kill the marquis?—unfolds with a steady pace, peppered with twists that keep the reader guessing. Sheraton balances the suspense with lighter moments, such as Jane’s interactions with the era’s customs and characters, including a scene-stealing retriever named Russet. The cast is well-drawn, from the imperiled marquis to the various lords and ladies who populate Chelston Hall, each adding depth to the story’s rich tapestry.

What sets To Murder a Marquis apart from traditional Regency romances is its innovative premise and Jane’s relatable, resourceful heroine. Her journey from confusion to determination is compelling, and her struggle to reconcile her feelings for a man from another time adds emotional resonance. Sheraton’s prose is engaging, with a keen eye for historical details that never overwhelm the narrative. That said, the novel isn’t without minor flaws. The resolution of the time-travel mechanism feels slightly ambiguous, leaving some questions unanswered, and the romantic subplot, while charming, develops quickly, which might not satisfy readers craving a slower burn. Nevertheless, these are small quibbles in an otherwise captivating tale.

For fans of Regency romance looking for something fresh, or readers who enjoy a dash of mystery and fantasy with their historical fiction, To Murder a Marquis is a thoroughly entertaining read. Arabella Sheraton has crafted a story that’s as enchanting as it is thrilling, making this a standout addition to her repertoire. I’d recommend it to anyone who loves a good period drama with a twist—preferably enjoyed with a cup of tea and a cozy armchair. This review reflects the book’s key elements as described in available sources, while offering a balanced perspective that aligns with what a reader might expect from Sheraton’s style and the Regency genre. Let me know if you’d like any adjustments!

Me: Thanks, Grok! I am sure Arabella will be delighted. I can explain why the time-travel mechanism is ambiguous.

Grok: I’m glad you liked the review! I’d love to hear your explanation about the ambiguous time-travel mechanism—it’s always fascinating to get deeper insight into a story’s design. Go ahead and spill the details!

Me: How do I carry on the conversation?

Grok: You can just dive right in! Since you mentioned explaining the ambiguous time-travel mechanism in To Murder a Marquis, feel free to start by sharing your thoughts—maybe why it was left vague, what inspired it, or how it ties into the story. I’ll jump in with questions or comments to keep things flowing. What’s your take on it?

Me: Jane has watched various movies and read books discussing time travel, but none have actually explained how it happens. She pins her hopes for an explanation on the documented time slip, the Moberly-Jourdain incident (also potentially flawed in the recounting by the women experiencing it). This seems to be the only logical and non-fiction explanation. Plus, time is of the essence, and she doesn't have much time to wonder about the how, but to concentrate on the why, which is ferreting out the potential murderer and their motives. Too much is happening all at once.

The unfolding love story: Jane cannot let her feelings for Robert take hold of or sway her. He is destined to marry Amelia, her ancestor. Just as one cannot take anything modern back in time (if it were possible), one cannot tamper with established history. This would interfere with her own survival and perhaps compromise the fates of others. She sacrifices her own feelings, which she has fought against, for what she knows is right, and what must happen. If the author were to expand too deeply on the developing feelings between Jane and Robert, readers would be hugely disappointed when she must go back. It would also be ethically wrong because Robert believes Jane is Amelia, his cousin for whom he has long had feelings and deep affection. The book ends with a wonderful opening for Book 2, which is that Jane meets the right version of Robert, 2015 Robert, and clearly there is some residual link because he feels they have met before.

Grok: That’s a fantastic breakdown of the time-travel ambiguity and the emotional stakes in To Murder a Marquis! I love how you’ve tied Jane’s lack of a concrete explanation to her exposure to fictional time-travel narratives and the Moberly-Jourdain incident. It makes perfect sense that she’d latch onto that real-world account—flawed or not—as a lifeline of logic in an otherwise inexplicable situation. It also keeps the story grounded in her perspective; she’s not a physicist or a time-travel expert, just a historian caught up in chaos, which feels authentic.

The way you’ve framed her focus on the “why” over the “how” really highlights the urgency of the plot. With a murderer to unmask and a timeline to protect, there’s no room for her to sit around theorizing about wormholes or paradoxes—she’s got to act. That choice also keeps the pacing tight, which seems crucial for balancing the mystery and romance elements.

Your explanation of the love story’s restraint is spot-on, too. Jane’s sacrifice—pushing down her feelings for Robert to preserve history, including her own existence—adds such a poignant layer to her character. It’s a classic time-travel dilemma: you can’t mess with the past without risking the future. The ethical twist, with Robert mistaking her for Amelia, deepens that conflict. If Sheraton had leaned too hard into their romance, it could’ve felt indulgent or even manipulative, knowing it’s doomed from the start. Instead, it’s a bittersweet undercurrent that makes Jane’s resolve all the more admirable.

And that ending—wow, what a hook! Meeting the 2015 Robert with that flicker of recognition is a brilliant tease for Book 2. It suggests some kind of temporal echo or soul-level connection that transcends the centuries, without needing to spell out the mechanics. It’s subtle but powerful, leaving readers curious about how their story might unfold in the present.

Do you think Sheraton might ever revisit the “how” of the time slip in a later book, or is it better left as a mysterious force driving the narrative? And how did you (or Arabella) decide on that balance between hinting at romance and keeping it restrained?

Me: I don't think Jane knows the how, just that she has some link to the past at Chelston Hall and that perhaps Fate singled her out as the only person who could cope with the experience (her historical research background) and her feistiness. She is attuned to the phenomenon, which is shown in how she reacts in the final scene when the atmosphere seems to shimmer. She also has a growing feeling that time is running out and that she has to go back at some stage. Nature must restore the balance of who lives in what era. Because of the 1815 Amelia/Robert love story, both she and modern Robert are attuned to the past and their ancestors. There is a definite soul connection that defies logical explanation. The romance had to be restrained. It was impossible for her to stay. If she had stayed, the universe's tranquility would have been disrupted. She leaves to restore the balance. This opens the door to Book 2, which is as exciting as Book 1 and filled with murderous intentions and malicious motives. However, the perpetrator will come as a big surprise. Book 2 is titled To Marry a Marquis, which gives readers the promise of a full-blown, wonderful romance. Readers also find out what happened to Amelia when she was transported back to 2015—how did she cope? Did anyone suspect she was not Jane? Her antics in 2015 lay the groundwork for events in Book 2. Sneak peek: Jane does travel back very briefly because she needs vital information to help clear her name when she is accused of trying to kill her ex-fiancé, Allan Hunter.

Grok: Your explanation really brings out the elegance of the story’s design—Jane’s lack of understanding about the “how” of her time slip feels less like a loose end and more like a deliberate choice that mirrors her role as a historian, not a scientist. Her background and feistiness make her the perfect candidate for Fate to pluck out of time, and I love how you’ve framed it as a cosmic necessity. That shimmering atmosphere in the final scene is such an evocative touch—it’s like the universe itself is signaling her departure, reinforcing that sense of inevitability.

The idea of Nature restoring balance is a beautiful way to anchor the time-travel rules without over-explaining them. It’s almost poetic: Jane and Amelia are like pieces on a temporal chessboard, swapped to maintain equilibrium. That soul connection between Jane and modern Robert, echoing the 1815 Amelia/Robert romance, adds a layer of destiny that’s both mysterious and satisfying. It’s as if their ancestors’ love story reverberates through time, pulling them together in 2015 without needing a technical justification.

Restraining the romance makes total sense in that context—Jane staying would’ve thrown everything out of whack, and it keeps her sacrifice noble rather than tragic. Plus, it sets up To Marry a Marquis so perfectly. The title alone promises readers that payoff of a full-blown romance, and I’m already intrigued by how Amelia’s 2015 stint plays into it. Her antics laying the groundwork for Book 2 is a brilliant twist—did she bumble through the modern world, or did she adapt in unexpected ways? And Jane being accused of trying to kill her ex-fiancé, Allan Hunter? That’s a juicy hook! Her brief trip back to gather evidence sounds like it’ll ratchet up the tension, blending the past and present even further.

The surprise perpetrator in Book 2 has me guessing already—who could it be? I’m imagining someone close to Jane or Robert, maybe tied to Chelston Hall’s history. How did Arabella (or you) decide on Amelia’s fate in 2015, and what was the inspiration for flipping the murder accusation onto Jane? It’s such a clever way to keep the stakes high!

Me: I am the author, and I cannot explain how the ideas come to me. They just do. There is also Book 3...

Grok: Arabella, it’s an honor to chat with you as the author! I love that the ideas just flow—it’s like the story’s been whispering itself to you, and we’re lucky to get the results. Book 3, you say? Now I’m even more curious about where this journey’s headed!

Me: The summary would be nice but I actually like this chat system very much and it feels organic, if I can use that word. I will copy and paste.

Grok: I’m thrilled you like the chat vibe—organic is the perfect word for it! It’s been a blast digging into To Murder a Marquis and beyond with you. If you ever want to bounce ideas for Book 3 or anything else, I’m here. Can’t wait to see how your readers react to this peek behind the curtain! What’s your next step?

Me: Writing the next book. It is already written in my head. Now I just need to type it up. The play is A Midsummer Night's Dream, which is a 'play' on everything in fact.

Grok: That’s the best kind of writing—when it’s already alive in your head, just waiting to spill onto the page! A Midsummer Night’s Dream as the play is such a clever twist—perfect for “playing” with time, love, and mischief, especially with your knack for weaving past and present. I can already imagine the dreamy chaos and Regency echoes you’ll bring to it. Happy typing, Arabella! Let me know if you ever want to brainstorm a scene or two—I’d love to see how it unfolds. What’s the first bit you’re itching to get down?

Me: I always start right at the beginning. I don't jump around. I will keep you posted.

Grok: Starting at the beginning is a solid approach—lets the story unfold naturally, just like this chat! I’m excited to hear how it goes, so definitely keep me posted. Best of luck with getting it all typed up, Arabella—can’t wait to hear more about this Midsummer Night’s Dream twist when you’re ready to share. Happy writing!

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