Ever since 1946, when The Foxes of Harrow made its debut, the signature Yerby costume-fiction formula has consistently echoed across the pages of his twenty-six novels. Central to these tales is a dashing blonde or fiery red-haired protagonist, often an outsider by either choice or fate, who embodies the ideal Yerby hero or heroine. Naturally, a cunning antagonist rises to challenge this central figure, and by their side, a steadfast companion loyally aids and comprehends their every struggle. Entwined in this narrative tapestry are a host of admirers, their affections undeterred by either sex, drawn to the protagonist's magnetic allure. The ensemble is completed by plebeian characters—typically oppressed blacks or impoverished whites, often shackled by society's chains—who add depth to the narrative cast.

In Yerby's world, a harmonious rapport often exists between major and minor players. While his renown largely emerges from his deft plot crafting and the vibrant settings of his costume novels, Yerby also conjures characters that linger in memory, each shaped by his distinctive narrative blueprint. Hugh Gloster encapsulates the quintessential Yerby hero or heroine: bold and rakish, both honorable and willful, while often paired with a chilly, upright spouse or a passionate, morally questionable mistress.

Apart from the leading figures, Yerby's novels teem with unforgettable characters, reflecting the diverse mosaic of America's ethnic tapestry, infusing the "melting-pot" idea with genuine literary essence. Characters often bear whimsical names—Fancy, Inch—each exuding vitality and vigor. In these stories, whites frequently emerge as reckless and malevolent, while blacks are portrayed as "idealized victims of a brutal, white-dominated caste system." These black characters, dreamy and estranged, navigate their roles as victims rather than beneficiaries. However, in Judas My Brother (1968), Yerby defies this pattern, presenting a Dahomean Empire's black chieftain as tyrannical and corrupt, illustrating that regardless of color, humanity harbors both angels and demons.

The intricate web of characters in The Foxes of Harrow, The Vixens (1947), Floodtide (1950), A Woman Called Fancy (1951), and McKenzie's Hundred (1985) serves as a testament to Yerby’s established formula. While labeled the "Prince of Pulpsters" with a penchant for sultry romances, many agree that Stephen Fox is a towering, all-knowing figure. True to Yerby’s character archetype, Fox is depicted as cunning and deceitful, a master manipulator who mingles charm with devilry. His persona, as Nathan Rothman suggests, fuses elements of Lucifer, D'Artagnan, Frank Merriwell, and Superman, creating a formidable force that dominates New Orleans society. Despite his wealth and conquest—women, slaves, plantations—joy remains elusive in classic Yerby style.

Even the supporting cast of Creole society ladies, quadroons, and blacks emerges as vividly as the protagonists. Critics might dismiss these characters as mere stereotypes, but in The Foxes of Harrow, they are dynamic figures—ladies of stature, gentlemen of substance, and dignified individuals. While traditionally relegated to menial roles, here they rise with dignity and honor, challenging the negative archetypes of black characters in American literature. Milton Hughes captures Yerby's mission in illustrating black characters: "Yerby insists, rightly so, on presenting the Negro as an unusual person of stature and dignity, in some cases, despite the shackles of slavery. He is keen on giving the psychology behind the rejection of Black people."

The character of Inch, Etienne's Negro servant in The Foxes of Harrow , exemplifies Yerby's affirmative portrayal of black characters. Inch shines both as a character and a scholar-politician, self-taught through the treasures of Stephen Fox's library. Rising to prominence despite the menace of hate groups like the KKK, Inch stands as a beacon of intellect and political acumen during the Reconstruction Era. Through Inch's journey, Yerby elevates the social standing...