Maggie Adams

Tickets are still available—but not for long… ✨

Ready to step into a weekend where stories come alive and book lovers take over the night? Come meet your favorite authors, mingle with fellow readers, and celebrate everything you love about books at SaSSy in St. Louis—happening in less than two months!

🎟 Grab your ticket: https://bit.ly/SaSSStLouisTickets

From engaging panels to a massive book signing featuring 60+ authors, this is your chance to connect, fangirl or fanboy, and discover your next obsession. And when the sun goes down? Slip into something dazzling for our Bootleggers Ball and dance the night away.

This isn’t just an event—it’s your kind of crowd, your kind of energy, your kind of weekend.

You know you want to be there. 💃📚

SaSSy in St. Louis (A Sexy and SaSSy Signing Event) SaSSy In St. Louis (A Sexy and SaSSy Signing Event)

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“Southern But I Ain’t Sweet” — the new single from Dawne Risin — blends classic country storytelling with a sharp edge of attitude.
Goes Live Friday!

Raised on tradition but not afraid to speak her mind, this track celebrates Southern strength, independence, and the fire behind a polite smile.

If you like your country music with grit, humor, and a little rebel spirit, this one’s for you.

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In 1972, a housewife sat at her kitchen table and typed a 600-page romance novel. Publishers told her it was too long, too s*xual, too much. That novel, The Flame and the Flower, went on to sell 4.5 million copies.

Kathleen Woodiwiss was born in 1939 in Alexandria, Louisiana. She married young, had three sons, and settled into the life expected of her—cooking, cleaning, raising children while her husband worked. She was supposed to be content with that. But Kathleen had a secret frustration: the books written for women were terrible.

Not poorly written. Just small. Safe. Polite. Romance novels in the 1960s followed a rigid formula. The heroine was virginal and passive. The hero was distant and controlling. They felt mild attraction, faced minor obstacles, shared one chaste kiss, and married by page 180. The end. No passion. No complexity. No s*xuality. Real desire never appeared. Love stories ended at the wedding, not the wedding night.

Kathleen read these books and thought women deserved better. She wanted romance that did not apologize. That did not fade to black at the crucial moment. That trusted women to handle intensity, complexity, and desire. She wanted heroines who felt deeply, chose actively, and lived fully. The books she wanted did not exist.

So in the late 1960s, while her sons were at school and her husband at work, Kathleen sat down and began writing. She created Heather Simmons, an eighteenth-century woman kidnapped and forced into marriage with a ship’s captain. Heather navigated rage, survival, and the complicated territory between captivity and desire. She did not wait to be rescued. She negotiated, strategized, and claimed agency even in impossible circumstances.

And Kathleen wrote s*x scenes. Not euphemistic. Not vague. Not fade-to-black. She wrote about bodies and desire, about the messy, complicated reality of physical intimacy. She wrote about pleasure. She trusted her readers to handle it. The manuscript grew. Six hundred pages. Twice the length of typical romances. Sweeping historical detail, complex character development, emotional intensity that would not quit.

Then came the hard part: finding a publisher. She sent her manuscript to dozens. Rejection came fast. Too long. Too explicit. Women would not read about s*x. Women wanted sweet, simple romance. Publisher after publisher said no. They were wrong.

Avon Books, a paperback publisher seeking original fiction, took a risk. In 1972, they published The Flame and the Flower as their first original romance paperback. The book exploded. Women did not just buy it—they devoured it. They passed it to friends. They read it multiple times. They wrote letters begging for more. Within months, it was a phenomenon.

Because Kathleen had understood something the industry refused to believe: women wanted passion. They wanted complexity. They wanted romance that did not insult their intelligence or treat desire as shameful. They wanted stories that did not stop at the bedroom door.

The Flame and the Flower sold over 4.5 million copies. It stayed on bestseller lists for months. It spawned an entire genre. Before Kathleen, romances were short, chaste, and formulaic. After Kathleen, they were epic, sensual, unapologetic. Publishers scrambled to replicate her success. The bodice-ripper era was born, though that reductive term never captured what Kathleen actually created.

She did not write cheap thrills. She wrote immersive historical fiction with complex characters, meticulous research, and emotional depth. The s*xuality was integral to understanding her characters’ journeys, their power dynamics, and their growth. And women loved it.

Critics hated it. They called it po*******hy, trash, proof that romance novels were corrupting women’s morals. Male reviewers were especially vicious. Women kept buying the books anyway.

Kathleen wrote twelve novels over her career. Every one became a bestseller. She never compromised, never apologized for writing stories that took women’s desires seriously. She proved something publishers refused to believe: women wanted romance that treated them as adults capable of handling complexity, s*xuality, and emotional intensity. She proved women did not need to be protected from passion—they craved it. And she proved a housewife typing at her kitchen table could revolutionize an entire industry.

Kathleen Woodiwiss died in 2007 at sixty-eight. By then, romance novels were a billion-dollar industry. Historical romances dominated bestseller lists. Entire publishing houses existed solely to produce the kind of books she pioneered. Most readers discovering romance today have no idea who she was. But every time someone picks up a 500-page historical romance with a strong-willed heroine and explicit love scenes, they are reading in a genre Kathleen created. Every time a novel treats female s*xuality seriously, it is because of her.

She was told her book was too long, too explicit, too much. She published it anyway. And changed what women were allowed to read. Kathleen Woodiwiss understood that there is nothing shameful about wanting passion, nothing wrong with craving intensity, and nothing embarrassing about unapologetic romance. She wrote the books she wanted to read. And millions of women had been waiting for them.

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