Bridgerton author Julia Quinn on Benophie, gender flipping, and the yearnaissance
It's been almost 15 years since Julia Quinn published the third book in her Bridgerton series, An Offer from a Gentleman, and it still lands.
A risqué and romantic Cinderella story about class and hidden identity, it's the basis for Season 4 of the Shondaland/Netflix series. But it's not the only book running this season, which also draws from Quinn's sixth book in the series, When He Was Wicked, for the tale of Francesca, John, and Michaela Stirling — a simmering tale of guilt, lust, and longing that will take the lead in Season 5.
We went straight to the source, speaking to Quinn about the nuances of Sophie and Benedict's socially-impossible situation, and the impact of gender flipping the character of Michael Stirling in the TV series — a decision that opens up queer inclusivity in for Bridgerton, and one that has seen strong fan reactions, for better or worse. These two books, published in the early 2000s, are still finding new audiences in 2026 — in fact, fancy new collector’s editions of the first three Bridgerton books have just been published.
We also talked more broadly about Regency romance and the undying yearnaissance in fiction, as Quinn's latest project proves she's just as much a fan of romance writing as you are: a subscription book box called JQ Editions, in which Quinn handpicks the titles based simply on whether she liked them.
So, dear gentle reader, pour yourself a cup of tea and settle in. This conversation has been condensed and edited for clarity.
Shannon Connellan: There are a lot of fans who haven't read the Bridgerton books, who are watching the show. An Offer from a Gentleman, which you first published in 2001, the thing I love about this Bridgerton story is that it really digs into the working class. Obviously, Sophie is our Cinderella. Why do you think this theme of class is so important in this luxurious Regency ton?
Julia Quinn: I just think it was something that was so... unsurmountable. I don't know that viewers understand what a big deal it was. When I was writing it, most of the people who I knew were going to read it were either my fans or fans of Regency romance, who were already pretty well schooled in the ins and outs of Regency society. So they knew this is a big deal. Does it ever happen that somebody of the nobility will marry somebody working class? Yes, but it is a big deal and comes with big consequences… You want to come up with a big conflict, and there wasn't much that was bigger than this.
SC: I think a lot of the 2026 lens on the show looks at Sophie's reluctance and insistence on not becoming a mistress, and Benedict's privilege saying 'Why not?' Why not?' — but to a Regency reader that would be really obvious.
JQ: For him, he is truly acting with the best of intentions. This seems like a way to take her out of poverty, a way that they can be together, a way that she gets away from a lot of abuse — and it is the way that society tells him it can be done. But I think the real story is, how does he go from this offer with the best of intentions to making one that is truly world-altering, and saying, OK, I'm willing to change my whole world for this person.
SC: It's really powerful.
JQ: I think so, and I know there are a lot of people who are like, 'Ew, why does he keep asking her to do this?' Like he's a predator or something. He's not a predator. He's a man of his time who is a kind person, truly, who is trying to keep her safe. I mean, yeah, he definitely tricks her into getting her the job at Bridgerton house, but he also knows that she's going to be treated so much better there than she's been treated somewhere else. It is a little bit of mansplaining, I will acknowledge that, but he really is looking out for her safety.
SC: Definitely, I read it like that too. I think people don't understand a modern workplace in the same way as a 19th century workplace and everything that goes with it. So it's really interesting to watch how that functions in the book and in the series.
JQ: Yeah, it's tough, because you're writing these books that are set in the early 19th century, but you are aware that you're writing them for modern readers. There's always this balance that you have to try to find and it's never going to be the right balance for everybody.
SC: Speaking of balance, romance writing has changed a lot in the last 20 years, especially for queer inclusion. And now, with Francesca Bridgerton's story from When He Was Wicked, Michael Sterling's character is gender flipped for the Netflix series. So we're looking at the first leading queer storyline for Bridgerton [in Season 5]. You've said this publicly, that you're "deeply committed to the Bridgeton world becoming more diverse and inclusive." So what does Michael becoming Michaela mean to you?
JQ: It just means that more people will be able to see themselves in a story about joy and happy endings, truly. I hear there are a lot of readers who are upset, and they have made themselves known, and while I think some of them are truly homophobic, I think some of them truly just loved the story and wanted it to remain the way that they loved — unfortunately, now they're getting called homophobic, so there's layers upon layers of things happening there. I'm touched because it's amazing to have written something that resonates so deeply with people, but the book isn't going to change. I'm not going to rewrite the book, because I always have that story, and I think it will just be very, very interesting.
I think that the main themes of this story can remain true. The biggest theme for me while I was writing was the guilt that both Francesca and Michael felt over falling in love with each other, because John was Francesca's beloved husband, and John was Michael's beloved best friend and cousin, so they felt deeply guilty falling in love with each other. That was the big inner struggle. I haven't seen the script yet, but I have every faith that it will remain true to the story. I don't see why gender flipping a character would change that.
SC: I wholeheartedly agree. You wrote the books in the 2000s and since then, and the release of the Netflix series, fandom has changed on the internet. It must be very strange or interesting for you to see these debates, ships, and loves for these characters that you wrote over two decades ago. How does the internet change how you see characters you created?
JQ: I wouldn't say it changes, it's just very interesting. I guess one thing that really surprised me was you have these fandoms, the ships — people have their special couples that they love so much — and usually, the Simon/Daphne people are pretty quiet, but the Kanthony, Benophie, and Polin people, I mean, they go at it with each other. And I'm just like guys, everybody gets a happy ending… but I just stay out of it.
SC: One of my favorite things about An Offer from a Gentleman is that although the connection with Jane Austen and Bridgerton is alluded to, the Mr Darcy legacy is real in Bridgerton. You have this frankly hilarious scene [in the book] when Benedict needs to 'control himself' so much that he plunges himself into icy water. I wanted to ask you, what is it about Regency romance and bodies of water, what is going on here?
JQ: Well, you couldn't take a cold shower! I actually remember I was writing my first book [The Duke and I], and the main character thinks, 'I need a cold shower,' and then all of a sudden's like… That probably was in there for three days before I was like, wait a minute, they don't have cold showers, what's he gonna do?
SC: That is superb. Obviously, you are an iconic part of the "yearnaissance," this never-ending love for yearning that often accompanies Regency romance. We've got romance bookshops popping up all over the world with historical fiction sections. Dating apps even saw a rise in the 2020s of the mention of 'courting' in dating bios, which is wild. Why do you think that Regency romance, in particular, never goes out of fashion?
JQ: I think that it is far enough in the past that we can romanticise it and give it a fairy tale quality that say, we couldn't for… I mean, I love reading novels set in World War I or World War II, but I think that's too close. It is hard to romanticize that time period in that way.
I'm sure I've written a book where everything could have been solved if somebody had a mobile phone. And we can allow for characters to behave in ways that wouldn't necessarily work today, like the workplace issue. Sophie doesn't have the kind of options she would have today, so when Benedict's really pushing hard to get her a job in his mother's house, it's because she really doesn't have any other options. Also it's modern enough that we can give characters hopes, dreams, foibles, and emotions that feel just generally familiar to us. One of the big things of Benedict's character is he feels like he's not seen as an individual, that he's just seen as the "number two" Bridgerton. With Penelope, you had a character who felt like she knew who she was on the inside, but she did not know how to be that person on the outside. I think a lot of people resonate with that today and so I think that works.
"I'm sure I've written a book where everything could have been solved if somebody had a mobile phone."
If you went farther back in time to say, medieval times, I think there's a religiosity and mysticism to the world that changes the way we view it, that makes characters' thoughts, dreams, and hopes a little bit too foreign. So it's really the sweet spot.
SC: I have read that you are into sports romance.
JQ: I like some of them, yeah.
SC: The whole Heated Rivalry phenomenon that's happened, I'm just saying that there's a high stakes game of pall mall in The Viscount Who Loved Me. Is there room for a sports romance?
JQ: I don't think it's my wheelhouse as a writer. I think I'm a sports romance reader. I quite like Tessa Bailey, in fact, I know I've known her online for a while, and I finally got to meet her in person recently, because I did a book signing in New York City and she was my conversation partner. She's really fun, I like her a lot.
SC: You've written over 40 books. Where do you write?
JQ: I write in a number of different spots. I often write in cafes. I often will also just go away for a week or two to a hotel or resort somewhere where I'm all by myself and nobody can bother me, and I don't have to get up at a specific time to get my kids to school — although that's not an issue anymore, because they're grown. So it's a combination of things. I don't have a set writing schedule, and if I did, I'd probably get an awful lot more done.