Later

15

My mother spent four months writing The Secret of Roanoke with her trusty tape recorder always by her side. I asked her once if writing Mr. Thomas’s book was like painting a picture. She thought about it and said it was more like one of those Paint by Numbers kits, where you just followed the directions and ended up with something that was supposedly “suitable for framing.”

She hired an assistant so she could work on it pretty much full time. She told me on one of our walks home from school —which was just about the only fresh air she ever got during the winter of 2009 and 2010—that she couldn’t afford to hire an assistant and couldn’t afford not to. Barbara Means was fresh out of the English program at Vassar, and was willing to toil in the agency at bargain-basement wages for the experience, and she was actually pretty good, which was a big help. I liked her big green eyes, which I thought were beautiful.

Mom wrote, Mom rewrote, Mom read the Roanoke books and little else during those months, wanting to immerse herself in Regis Thomas’s style. She listened to my voice. She rewound and fast forwarded. She filled in the picture. One night, deep into their second bottle of wine, I heard her tell Liz that if she had to write another sentence containing a phrase such as “firm thrusting breasts tipped with rosy nipples,” she might lose her mind. She also had to field calls from the trades—and once from Page Six of the New York Post—about the state of the final Thomas book, because all sorts of rumors were flying around. (All this came back to me, and vividly, when Sue Grafton died without writing the final book of her alphabet series of mysteries.) Mom said she hated the lying.

“Ah, but you’re so good at it,” I remember Liz saying, which earned her one of the cold looks I saw from my mother more and more in the final year of their relationship.

She lied to Regis’s editor as well, telling her Regis had instructed her not long before he died that the manuscript of Secret should be withheld from everyone (except Mom, of course) until 2010, “in order to build reader interest.” Liz said she thought that was a little bit shaky, but Mom said it would fly. “Fiona never edited him, anyway,” she said. Meaning Fiona Yarbrough, who worked for Doubleday, Mr. Thomas’s publisher. “Her only job was writing Regis a letter after she got each new manuscript, telling him that he’d outdone himself this time.”

Once the book was finally turned in, Mom spent a week pacing and snapping at everyone (I was not excluded from said snappery), waiting for Fiona to call and say Regis didn’t write this book, it doesn’t sound a bit like him, I think you wrote it, Tia. But in the end it was fine. Either Fiona never guessed or didn’t care. Certainly the reviewers never guessed when the book was crashed into production and appeared in the fall of 2010.

Publishers Weekly: “Thomas saved the best for last!”

Kirkus Reviews: “Fans of sweet-savage historical fiction will once more be in bodice-ripping clover.”

Dwight Garner, in The New York Times: “The trudging, flavorless prose is typical Thomas: the rough equivalent of a heaping plate of food from an all-you-can-eat buffet in a dubious roadside restaurant.”

Mom didn’t care about the reviews; she cared about the huge advance and the refreshed royalties from the previous Roanoke volumes. She bitched mightily about only getting fifteen percent when she had written the whole thing, but got a small measure of revenge by dedicating it to herself. “Because I deserve it,” she said.

“I’m not so sure,” Liz said. “When you think about it, Tee, you were just the secretary. Maybe you should have dedicated it to Jamie.”

This earned Liz another of my mom’s cold looks, but I thought Liz had something there. Although when you really thought about it, I was also just the secretary. It was still Mr. Thomas’s book, dead or not.