This article builds on previous scholarship that demonstrates that the Waverley novels’ connection between narrative and maternal ideology, with all its connotations of potential physical creation, illustrates an anxiety of authorship. It argues that Scott’s playfulness in Count Robert of Paris, one of his last novels, suggests a reluctant acceptance of narrative-creation and authorship. It explores the presentation of the novel’s three heroines, Anna, Brenhilda and Bertha, and claims that all three are represented in terms of maternity. The heroines’ fecundity suggests a mitigation of Scott’s previous anxiety about creation. The article begins by considering the heroines as maternal beings before exploring their connections with their mothers; whereas other Waverley heroines are usually seen as products of their fathers, this is not the case in Count Robert of Paris. It then considers the heroines’ connection to narrative-creation. After that, it explores the fraught presentation of female-driven narrative, and argues that despite the questions raised, particularly by the narrator, the text reasserts the importance of female creation. It concludes that this reassertion suggests an acceptance of the playfulness of narrative creation that Scott had to hide earlier in his career.