Frances Burney’s third novel, Camilla (1796) was a much-anticipated event, for Burney had not published a novel in 14 years. Burney’s return to publishing was motivated by the need to support her growing family: in 1793, Burney had married Alexandre D’Arblay, a French military officer who was unemployable in England, and in 1794, their son Alexander was born. To maximize the profits of Camilla, Burney turned to subscription, which she had never done before; the lengthy list of subscribers of Camilla featured many celebrities of the period and included a not-yet-famous Jane Austen. In Camilla, Burney expanded upon the concerns of her earlier novels, with a more extensive view of courtship, conduct, family dynamics, education, economics, and disability. Camilla received mixed reviews from contemporary critics, but the novel did well commercially. In the mid- and late-nineteenth century, critics tended to view Camilla as a sign of Burney’s declining talent, a departure from her well-received earlier novels, Evelina (1778) and Cecilia (1782). For modern scholars, however, Burney’s Camilla provides important insights into Burney’s craft and development as an artist, as well as cultural history, women’s history, disability studies, the history of the novel, and publishing history.