Saturday, December 11, 2010

Nothing I like better than . . .

Nothing I like better than Book Pimping.
Except bragging.

This is a case where I can do both.

Sarah Wendell of Smart Bitches does the Romance blog at Kirkus Reviews.  Here is her Best of 2010 list.    Here.

I'm posting it in case you have been hiding out in Serbia in a cave, meditating, and you somehow missed it.


Last Night’s Scandal by Loretta Chase (Avon, 2010)
Hot Finish by Erin McCarthy (Berkley, 2010)
The Summer of You by Kate Noble (Berkley, 2010)
Something About You by Julie James (Berkley, 2010)
Maybe This Time by Jennifer Crusie (St Martin’s, 2010)
Exclusively Yours by Shannon Stacey (Carina Press, 2010)
Iron Duke by Meljean Brook (Berkley, 2010)
Butterfly Swords by Jeannie Lin (Harlequin, 2010)
His at Night by Sherry Thomas (Bantam, 2010)
Raised by Wolves by Jennifer Lynn Barnes (EgmontUSA, 2010)
What the Librarian Did by Karina Bliss (Harlequin, 2010)
Archangel’s Kiss by Nalini Singh (Berkley, 2010)
Scoundrel by Zoe Archer (Zebra/Kensington, 2010)
All I Ever Wanted by Kristan Higgins (HQN, 2010)
Happy Ever After by Nora Roberts (Berkley, 2010)
Bayou Moon by Ilona Andrews (Ace, 2010)
The Forbidden Rose by Joanna Bourne (Berkley, 2010)
Nine Rules to Break when Romancing a Rake by Sarah MacLean (Avon, 2010)
Naked Edge by Pamela Clare (Berkley, 2010)
Strawberries for Dessert by Marie Sexton (Dreamspinner, 2010)
Seven Nights to Forever by Evangeline Collins (Berkley, 2010)

I'm going to make a couple few comments.

1.  The first is that I'm on it.  See!  Lookit!!
Isn't that ultimate cool?

2.  We got books on this list from publishers who are not the New York Usuals.  Very interesting.

3. We got four books from various arms of HQN.  Category don't get no respect from reviewers and it's nice to see a list with HQN authors on it since HQN sells more books than Aunt Minnie has cats and always holds big juicy numbers at Bookscan.

4.  About half these books are from a single publisher -- Berkley --which happens to be my publisher.  So congratulations Berkley, you are doing something right.

I suspect this has to do with publishing innovative stuff.

5. I've read:

Last Night’s Scandal,
The Summer of You
,
Butterfly Swords,
His at Night.

These four are just excellent and I recommend them to you.

I haven't read more than four because I mostly can't read Romance while I'm writing.    It messes with my head.
I have another four of these 20 in my tbr pile.

I've held off buying the Berkley books in the hopes I can get free -- and signed -- copies at RWA National.  (. . .  sorry about that.)

So there we go.  New authors and old favorites.  Wonderful books.  Go buy some.

Win Some Books . . .

Your chance to win a complete Word Wenches library.  Here.

Books from Jo Beverley, Mary Jo Putney, Patricia Rice, Anne Gracie, Susan Fraser King, Patricia Rice, Cara Elliott, and me. 

Monday, December 06, 2010

AAR Top 100 Romances . . . and ME

I am so delighted.  So very floating around the Ceiling.

All About Romance has just published their list of 100 favorite Romances.

I'm on the list.

See it here. Or try here.

These are books readers loved.  These are the memorable books.  The keepers.  Books from 1813 or 1991 or 2010.  Historical, Paranormal, Contemporary, and Romantic Suspense.  Most of the authors are Best Sellers, but there are midlist authors on the list too.

Interestingly, I'm counting eight 'first books' out of the hundred.  (I'm going to include my own Spymaster's Lady in there too, even if it's cheating.)
I could be wrong, Lord knows, but I think these are all first books:

The Duke of Shadows , by Meredith Duran
Passion by Lisa Valdez
Private Arrangements   by Sherry Thomas
Whitney My Love  by Judith McNaught
Jane Eyre  by Charlotte Bronte
The Raven Prince by Elizabeth Hoyt
The Spymaster's Lady  by Joanna Bourne
Outlander  by Diana Gabaldon


(ETA to add a book.  Thanks to Scorpio M who pointed out the Hoyt, which I had missed.)
(ETA yet again.  To remove a book.  Jane Austen's first published work was Sense and Sensibility, not P&P.  Bad jo!  Bad, bad jo!) 

This is just a hilluvalotta first books.
I have decided to call this the "First Book Effect".

I've read 85 of 100 -- which is to say I don't read much Romantic suspense or Paranormal but I've read all the others.  I can testify that the ones I've read are powerful romantic works. If you want to recommend Romance to a friend, put forward any of these books.

If you haven't read them yourself, you might go ahead and do so.

Monday, November 29, 2010

Sipping Tea -- Georgian Style



Five-Oclock-Tea walker cropped Is there no Latin word for Tea?  Upon my soul, if I had known that I would have let the vulgar stuff alone.
        Hilaire Belloc

No Latin for tea because tea didn't travel the silk roads all the way to the west.  In Roman times, tea was an entirely Chinese secret.  Tea only made it to Europe about 1600, the Dutch and the Portuguese carrying it home along with the other spoils of oriental trade.
 Galleon wii
It was the Age of Enlightenment. 
The Age of Exploration.  
The Age of Discovery. 
Europeans needed more than ale to fortify them for these earthshaking events.  They took to tea, coffee and chocolate like ducks to watercress.  
More at Word Wenches, here.

Thursday, November 18, 2010

Library Journal. Oh My.

Library Journal has listed Forbidden Rose as one of its Best Genre Books of 2010.  Here.

I am delighted and very, very honored.  

 I don't even know what to say.

Kristin Ramsdell, who works with Romance genre for Library Journal, puts Forbidden Rose in the most wonderful company.  Lookit:

 

(me) Bourne, Joanna. The Forbidden Rose. Berkley Sensation: Penguin Group (USA). ISBN 9780425235614. pap. $7.99.

From a burned-out chateau in the French countryside to the treacherous, violent streets of revolutionary Paris, this superbly plotted adventure pairs up an English spy and a French aristocrat. (LJ 6/15/10)  Here.


Brockway, Connie. The Golden Season. Onyx: Penguin Group (USA). ISBN 9780451412836. pap. $7.99.

A peerless lady of the ton learns she is almost penniless and surreptitiously sets out to find a wealthy suitor during her last "Golden Season." This delightfully witty, deliciously sensual romance is peppered with humor and enhanced by memorable characters. (LJ 2/15/10)
  Here.

Dreyer, Eileen. Barely a Lady. Forever: Grand Central. (Drake's Rakes, Bk. 1). ISBN 9780446542081. pap. $6.99.

A woman whose life was devastated five years earlier by deceit, betrayal, and divorce has her peace shattered once more when her ex-husband is found at Waterloo, wounded, suspected of treason, suffering from selective amnesia, and convinced that they are still happily married. An emotionally compelling, flawlessly crafted gem. (LJ 6/15/10) Here.

Kinsale, Laura. Lessons in French. Sourcebooks Casablanca. ISBN 9781402237010. pap. $7.99.

An aristocratic, bull-breeding heroine and a charming French émigré hero reclaim their love in this funny, whimsical, clever, and thoroughly rewarding sensual romance that is Kinsale's first appearance in the market in several years. (LJ 2/15/10) Here.

 McDonald, L.J. The Battle Sylph. Leisure: Dorchester. ISBN 9780843963007. pap. $7.99.

This stunningly creative and riveting debut novel of a young woman who escaped sacrificial murder to become the adored queen of her remarkable battle sylph is a mental and emotional delight for both fantasy and romance readers. (LJ 2/15/10) Here.

 

I've read the Kinsale, of course.  Wonderful, wonderful book.  I have already resolved to put Eileen Dreyer's on my TBR shelf.  The Brockway book sounds fabulous,  Another one I must buy. 

I wonder what the MacDonald book will be like.  It doesn't necessarily sound like a Romance, but I'll check it out.

Saturday, November 13, 2010

AAR Anual Reader's Poll

Reminding everybody that the ballot for the AAR Annual Reader's Poll closes on November 15.  That's only 2 days from now.

It's here.



This is where you tell the world what Romance books you love.  This is our chance, as readers, to bring our favorites to the attention of others.


While I'm talking about AAR polls -- you might drop by the 2009 Best Book winners,  Here,  just to kind of refresh your memory. 

The 2009 overall winners were:

Best Romance

The Madness of Lord Ian Mackenzie, Jennifer Ashley

Honorable Mentions for Best Romance 
Not Quite a Husband, Sherry Thomas
Bound by Your Touch, Meredith Duran


You should go buy those three if for some inexplicable reason you have not.  The Best of 2009 selections continue unabated down the page.

Monday, November 08, 2010

Publisher's Weekly 'Best Books of 2010'

Publisher's Weekly gives us a list of The 100 Best Books of 2010.  Here.  As they put it:

This year we took our annual slugfest to the pub underneath our new office and came up with a list of the year's top 100 books.

Courtney Milan 'tagged' me this morning in a Facebook post saying congratulations.
I'm on that list.
With FORBIDDEN ROSE.  Here.

That's saying it's one of the 100 best books of all kinds of books.
I cannot tell you how puzzled, dazzled, and delighted I am.

Every once in a while I'll climb on my hobby horse and complain about how Romance genre gets no respect from reviewers.  I will have to eat a number of those ill-considered words.
Romance genre has FIVE books on that list.

(Two of those five Romances are from Berkley.  They're doing something right at Berkley.)

The five Romance genre books listed among the 100 Best Books of 2010 by Publisher's Weekly are:
 

The Forbidden Rose
Joanna Bourne (Berkley Sensation)
In mid-revolution France, a noblewoman and a spy are torn between wartime practicality and headstrong passion. The gripping espionage story and wry voiceovers from the heroine will win hearts.

The Iron Duke
Meljean Brook (Berkley)
Brook's fabulous steampunk tale has an iron-boned war hero and a half-Asian detective inspector matching wits and wills on airships and battleships and in smoke-choked London as England recovers from 200 years of Mongol rule.

The Heir
Grace Burrowes (Sourcebooks Casablanca)
Burrowes pulls off an improbable Regency affair between a spoiled ducal heir and a housekeeper with a secret.

Barely a Lady
Eileen Dreyer (Grand Central/Forever)
The wartime amnesia romance is as old as the hills, but RWA Hall of Famer Dreyer (aka Kathleen Korbel) makes this one work.

Trial by Desire
Courtney Milan (HQN)
Modern readers will be as intrigued by the Victorian-era political issues as they are by the central story of a man trying to reconnect with the wife he abandoned.

from Publisher's Weekly, quoted under Fair Use.


Two of those are already set aside in my mammoth TBR pile, waiting till I finish the manuscript.  I will zip out and buy the other two.



ETA:

Rose Fox, over at PW's Genreville, gives us an insider look at the process of selection and reveals the books that nearly edged out the five 'listees'.   

More great books, says jo, rubbing her hands gleefully.

Rose Fox's comments on these other great books are:


Proof by Seduction,
Courtney Milan
A stunning debut Victorian that very nearly made the top list, outclassed only by its sequel. 

Whisper of Scandal,
Nicola Cornick
An adventure story wrapped around a heartbreaking tale of a woman rendered barren by her husband’s beatings. 

Last Night’s Scandal,
Loretta Chase:

The hilarious and adorable story of two rapscallions renovating a haunted Scottish castle. 

Marry Me,
Jo Goodman:
A moving 19th century American romance with tons of interesting period medical detail.


Warrior/Scoundrel/Rebel
Zoë Archer’s
Cranks up the Indiana Jones–style adventure to 11 and then piles on the sexy heat.

Welcome to Harmony
Jodi Thomas
Contemporary Western, is a really lovely meditation on what it means to be family.

No Chance,
Christy Reece
series kickoff  is an exemplary romantic suspense novel with a fabulous self-saving heroine.

Monday, November 01, 2010

Dragged in from Facebook

Me, (on Facebook) :  My computer is sick.  Sick.  Sick.  Sick.
If desperation were a cup, mine would be full up to the top and brimming over.
You know how writers go into a quiet room and create stuff and maybe put their feet up and consider plotting over a cup of strong tea. . . .
 
Me.  Not so much.
I just think about the damned nightmare computer.

I will limp it along till January when the deadline and the editor changes will be done.

In January I am going to give serious thought to getting a Mac. I am weary beyond words of every chapter feeling like a sandcastle built below the tideline

Romantic Times 2010 Reviewer's Choice Contest

Madly beating my own drum --

My novel, Forbidden Rose, has been nommed by RT in the 2010 Annual Reviewer's Choice Contest, 'Historical Romantic Adventure' category.

Fellow WordWench Jo Beverly, (The Secret Duke,) is nominated for Best British Isle and WordWench Pat Rice, (The Wicked Wyckerly,) under Historical Love and Laughter.


I cannot begin to list the wonderful books nominated.  I'd link to the noms -- it's just a shopping list of what to buy -- but I don't know where to find it on the net.

Wednesday, October 27, 2010

Thai Cover

I'm back from the Surrey International Writer's Conference.  There's notes on it by other folks here.  I'm too desperately harassed to contribute, but as you can see, folks loved it.


'What a blast,' is my comment.

Am up to my gills in the manuscript and will be very very silent here on the blog for at least a month.

Alert fellow RWA member May, whom I met at RWA National last year, writes to tell me the Thai edition of Spymaster's Lady is about to be released.  

Pretty cover, isn't it?  There seems to be a white rose and a pink peony and something central that might possibly be a silver butterfly.
Or not.

Also a threatening shadow.

It says 'Award' which is either about the book itself or the name of the Romance line.

The theme may be a bit obscure, but I do like flowers.

ETA:  Excellent reader May, in the comment trail says:

The "Award" in the cover means that your book received the award, which in this case is from All About Romance.  The Thai title actually translated as The Spymaster's Lady.

That is very interesting.

Wednesday, October 13, 2010

What a pity it isn't illegal . . . Regency Ice Cream

Ice cream is exquisite. 
What a pity it isn't illegal. 
~Voltaire


 
There's a certain perversity to Mother Nature.
Strawberry_ice_cream 4 Take  strawberry ice cream. 
Here we have an obvious Good Thing.  Combine fresh strawberries, something sweet, and milk.  Cradle the mixture in ice and harden it. 
Voilà -- you're going to end up with something tasty.



But it's not so straightforward.

Here, at Word Wenches

Friday, October 08, 2010

Required reading

This isn't great books on the shelf right now that you should go out and buy,
because I am not reading anything. 
I'm sitting around, emo-ing and whinging about deadline.

This is a list of websites for folks who want to write and sell their work.


If you read the archives of these blogs, the whole 'New York publishing world archetype' will take form in your mind.  You can become one with the publishing process.
This is like the Navajo hunter visualizing his prey before he hunts.


Miss Snark here. Later here.
Pub Rants here.
Agency Gatekeeper here.
Evil Editor here.
Bookends here
Rants and Ramblings here.
Dystel & Goderich here.
Et in arcadeia here.

Monday, October 04, 2010

How many characters?

This is something I wrote elsewhere and am dragging back here, somewhat tired and shopworn, for your delectation.

How many characters in a story?


Let's say you have 90K words to play around with.  In that space, you can develop between seven and ten characters.  A dozen at the outside.

Three or four can be major actors with flaws and inconsistencies and pasts.  With POVs.  Another six or seven can fill the role of secondaries.  We see a good bit of these secondary guys.

But we end up with just these two or three cool main characters.

In all -- a dozen recognizable and developed characters. 
Not two dozen.  Not twenty.  Not even seventeen.

There's a reason movies are named 'Ocean's Eleven' or 'The Dirty Dozen', instead of Ocean's Twenty-two and The Dirty Thirty. The Guns of Navarone was a team of seven plus a villain.  How many characters perform significant action in The Great Escape?
(And that was deliberately plotted for cameos.)

If you have nothing to do some rainy weekend, you might watch these pictures and study how the screen time is allotted. It's a good lesson in handling multicharacter fiction with de-emphasized main characters.

In these movies, we do not have seventeen developed characters to keep track of. When you look carefully, it's more like eight.

How come? 


There is the Mother Cat Effect.
which I have just named.


A mother cat can count to five. This is, she's aware of five kittens in the sense that if you sneak in and take one away, she notices.  If she has six or seven kittens and you nab one, she doesn't notice.

I am not advocating the theft of kittens here. I'm trying to say that your reader has what might be called a cat-awareness of characters and this stretches to about eight or ten characters all told.

More characters than that, and they are going to just slide out of her mind and become, 'Oh. That guy who's going to blow up the hot dog stand.' 'Oh, his old girlfriend.' 'Oh, the bank manager.'


The eleventh and dozenth characters are no longer individuals. They are a moveable place in the plot. They are scenery with arms.

A writer might know and love each of their twenty or thirty people and tell them apart. If the writer was doing a sea thriller he could create two-dozen individual boats and explain this one has this sort of rigging and that one is out of Nantucket. He could give them idiosyncrasies and put memorable names on them.

But the reader, after six or eight cutters and sloops, stops building a picture. Three pages later, she couldn't match the name with the boat. He would have created something the reader doesn't 'see' and wasted his precious words and the reader's focus while doing so.

Characters are a zero sum game. After six or eight, you can add only another character by stealing reality from the ones in place.

One way we end up with excess character-age is we create a separate thread of action that does not have the POV character in it.  That action needs a whole new set of characters to run it.
We tell ourselves this is cool stuff.  Even though it happens outside the eye range of the POV characters, we must show the reader.

Might be the factory building deadly green bottles. Might be Napoleon planning the next battle.
But our MCs can't be there.

This is a job for TELL DON'T SHOW.

Feeding in information the POV character can't see is one of the technique thingums we have to conquer. (And Bloody Hard it is.) We are always trying to get this information to the reader.
But creating scenes to 'explain stuff' is almost always misguided.

The core rule that covers this is that 'scenes arise from the action of our main characters'.   Events are important because the MCs react to them.


Think about any of these thrillers with doomsday machines being built. Moonraker, True Lies, X-Men and so on.
Watch how there is always a MC, hero or villain, on screen or about to walk onscreen. We don't see the secret laboratory. We see the villain in the secret laboratory.


Look at a beautifully plot-driven book like any of Agatha Christie's.

(Count her characters, btw, in books that are deliberately plotted with a huge cast. Not twenty-two developed characters milling around. Fewer than a dozen, and those mostly stereotypes. Murder on the Orient Express. Ten Little Indians. A dozen is the outer limit.  There is a reason for this.)

Anyhow, see how the action of her books intertwines with the characters.

The body in the library does not remain isolated from the MCs. Poirot visits the library. Mrs. Marple comes to sit with the owner of the house. There is no separate thread for the excitement of that murder. As soon as humanly possible it is folded into the action of the characters. All scenery and event leads back to the hands and eyes of the MCs.


Doesn't matter how lovely the scene is, how exciting, how important . . . we have to replot to put the POV character there.

Tension doesn't happen because there's a poisonous green glowing vial on an anonymous assembly line in a mysterious factory.

Tension happens because a green glowing vial gets unpacked by the MCs twelve-year-old daughter and set on the kitchen counter.

Thursday, September 30, 2010

Anne Gracie on Dorothea Brande AND on her new book, The Accidental Wedding

Let me introduce my guest blogger, the most excellent Anne Gracie, who's going to talk about Dorothea Brande, one of the most influential writers on writing.

Oh.  And we get just a peek at Anne Gracie's newest book, which is worth the price of admission all by itself. 

Anne Gracie will be GIVING AWAY A COPY OF HER NEW BOOK, The Accidental Wedding, to some lucky person in the comment trail.

(Forgive me for shouting.  It's just cool, is all.)

******


Anne Gracie here.

Jo kindly invited me on as a guest blogger because I have a book coming out this month.

But Jo's blog is mostly about writing, so it doesn't seem quite fair to do a "Rah, rah, buy my book" kind of blog. Instead I thought I'd talk about training your muse and Dorothea Brande.


Dorothea Brande was a writer and writing teacher in New York in the 1930's. She wrote a book called Becoming a Writer which is now a classic and is still in print. It was the forerunner to books like Julia Cameron's "The Artist's Way" and others.
   
But Dorothea isn't the slightest bit new-agey.  Her book is small and slender, her advice practical and quite pithy.  The writing style is spare, elegant, and a little old-fashioned in places.

Dorothea is as romantic about the writing process as a dog trainer is about training dogs — with good reason; she's on about training your muse to perform on command. But she also acknowledges there is magic involved — and that you can teach it to come to you. And it’s true.

I can't do justice to her whole philosophy here, but this is my own nutshell version of Dorothea, which I've used on and off for more than ten years.

1) The morning pages.

Anne Gracie's actual notebook

First thing in the morning, before you "engage with the day," before you talk to anyone or eat or read the newspaper or check your emails  (you can pee)— write. 

Write for a minimum of 15 minutes — it doesn't matter what you write.  Let your imagination flow freely. Write down your dreams, ideas, random thoughts, snatches of dialogue, stream-of-consciousness, ideas for a story -- don't restrict yourself.  It's best if you're still in that half-dreaming, half awake state.

Don't try to revisit what you have written, don't even reread it. All that matters is that you write every morning for at least 15 minutes. The point is to train the unconscious to come to the fore and express itself, and for your imagination to begin to flow and blossom.

When you've finished, look at your schedule for the day, find a time when you can write for at least 15 minutes, and make an appointment to write.

2) The appointment to write

No matter what, you must keep this appointment. If you're in the middle of something, you must stop and write. If you're ironing and have one more shirt to iron, stop and write. If you're in traffic, pull over and write. Accept no excuses or delays — more on that later. 

You can either continue with the free flow writing, work on a piece you've already started, write scenes or bits from a novel you're working on, start a short story — it doesn't matter. Again, it's only 15 minutes. Of course you can choose to go longer, but 15 minutes is all that's necessary to keep "the flow" going.

Why keeping these times are important.

I don't know about you, but my unconscious is always full of reasons why I can't write now and why it would be better to put it off and do it later. Keeping this appointment to write trains that expert in procrastination — my unconscious — that there's no point coming up with excuses. This trains the muse to perform on command.

In the early days, the unconscious whines and wriggles and spouts excuses by the dozen. Stay firm, write your morning pages and keep your appointment to write, and soon you'll find it easier and easier to write when you can — and to write well.

What Dorothea has done for me:

I used to believe I didn't dream a great deal -- only the odd strange one (brought on by cheese or something the night before ), but once I got into the swing of the morning pages, I recalled more and more dreams. It was amazing. And with the freedom to write anything, any way, my writing became fresher and freer and wilder, which fed into and enriched my books.

As the morning pages became routine, some miraculous part of my brain started to anticipate the writing and there are times I wake up and find scenes unrolling in my head like a movie, ready to be written. 


A number of pivotal scenes in my books have come to me that way.

Here's an example — the scene here is very close to the scribbled down morning pages scene in my notebook.

I must confess I don't always keep up the routine. Usually I "do Dorothea" religiously for a few weeks and once everything starts flowing, the routine gradually drops away. When I slow down or get blocked or have had a period of not writing, I return to Dorothea to get me back on track.

And there's much more to her book than I've mentioned here.

Before I go, here's the promo for my new book:


    THE ACCIDENTAL WEDDING


An injured man, a desperate woman...
 

She saves his life. He fakes amnesia...




 

Anne Gracie, THE ACCIDENTAL WEDDING  Berkley Sensation, October 5th 2010,  ISBN 978-0425233825

Thanks, Jo, for letting me visit.
Anne Gracie

Monday, September 27, 2010

Jeannie Lin at Word Wenches

I know it feels as though I will never post again.  I have been dilatory, which is such a lovely word it almost makes dilatory seem a delightful thing to be.

Anyhow.  I am in full frantic-panic mode about The Book Deadline and therefore largely silent.

I will just say we have a lovely interview with the author of Butterfly Sword over at Word Wenches.  Here.  Very interesting, and not just to those of you enthralled by the Tang dynasty.

Is there anyone not enthralled by the Tang dynasty?  So few periods of history are named after fruit-flavored beverages.

Monday, September 20, 2010

All that glistens is not . . . goldfish

You've probably asked yourself, from time to time, if there are any Shakespeare  Thomas Benjamin Kennington quotes about goldfish.

Did Shakespeare say, "That which we call a goldfish, by any other name would be as bright"? 
Or insult some catiff with a, "Thou wimpled, reeling-ripe goldfish-licker!"

He did not. 
Goldfish didn't make it to England till nearly a century after Shakespeare's death.  We got Shakespearean dogs and cats, camels, carp, marmosets, mackerel, and whales . . . but no goldfish.

Basically, the goldfish is the carp who made good.

Read the rest of 'Everything you wanted to know about Regency Goldfish but didn't realize it'
over at Word Wenches . . . here.

Wednesday, September 15, 2010

Why the English?

Jennie at Dear Author, reviewing Caroline Linden's book, You Only Live Once, says,

". . . reflections on the French Revolution made me question (not for the first time) the anti-French, anti-revolution bias in historical romance.  (my bolding)

It’s a bias that has interested me for a while, mostly because I’m not sure what is at the root of it.
Is it a general disdain of the French common to…most everyone but the French?
Is it based on the weirdly pro-British slant in historical romance (I say weird because it’s usually American authors writing these books)?

Is it based on actual disdain for the bloodthirstiness of the revolution?"


I've thought about this subject some.



Bit of Backgound here for anyone who lives on Mars and is tuning in through subether radio:

Historical Romance has a dozen few favorite settings.  The most tenacious of these may well be 'The Regency'.  Regency Romances are set, roughly, from 1800 to 1817. 



Engaging in fussy historical quibbledry here: 

The French Revolutionary Period ran from 1789 to 1799.  From the Bastille to Napoleon's coup d'etat. 

The Napoleonic Era was 1799 to 1815.  From the coup d'etat to Waterloo.

Anyone still able to unglaze their eyes at this point will see that Regency Romances are set during the Napoleonic Era. 


Or,
to put it another way . . .

To me, this kinda sums up the Old Regine.
To a character in a Regency Romance, the French Revolution, (Aristos fleeing the mob, heads rolling like ten pins,)
is ten or twenty years ago.  It happened when they were at school.  Some of the protagonists weren't even born when the Bastille fell.

The French Revolution was, (as my kids would put it,) "so last week."



Regency characters are fighting the Napoleonic Wars.
Different animal.


The Napoleonic Wars, unlike the French Revolution,
can be presented, simplistically, as a straightforward conflict of right and wrong.   (Which may be why Regencies are set there.)

France is an invader and conqueror.  England is defending itself and other nations in Europe.
"Them bad French invaded Spain.  We go rescue Spain."

The Regency spy surveils, and the Regency soldier comes home from, 'a just war'. 
My character Annique, in The Spymaster's Lady, has been loyal to France through the Revolution.

I propose that she may plausibly change her loyalty when Napoleon begins a series of wars of conquest.

Her moral dilemma is exactly about the difference between the philosophical basis of the French Revolution and philosophical basis of the Napoleonic Era in France.


My character Maggie, in The Forbidden Rose, makes a choice typical of the French Revolution.

She's not choosing between nations or philosophical systems, but rather is forced to one side of an internecine class war.



Annique responds to a moral conflict that didn't exist in the Revolution.  Maggie, to a conflict that was resolved by the Napoleonic Era. 

Eight years apart, it's an entirely different war.

As to why books get set in England, instead of,  say, Germany, Italy, the Netherlands, Croatia, or France . . .

I figger it's the same reason kids go out to play soccer or football instead of making up a new game each time.  You arrive on the field and you got yer lines already painted, the goal posts are up, and everybody knows the rules.

We write books set in Regency England because the readers are familiar with the Regency and folks are familiar with Regency England because so many books are set there.
It's one of those feedback loops.  A viscous cycle.  Sticky.

Readers come to a Regency Romance armed with all sorts of background.  They know Almacks, Bond Street, Vauxhall Gardens, and Gunter's.

Just about nobody knows the Chinese Baths, the Palais Royale, the Tivoli Gardens of Paris, or the Cafe Foy.

The Chinese Baths of Paris in the 1790s


A writer who sets a novel someplace . . . novel,
faces a massive origination fee.  She has to describe the Chinese Baths.  Explain what the Cafe Foy is.
While that author is describing, explaining, and making real the setting, she's not telling the story.

And the writer doesn't necessarily know all this stuff.  It's long, irritating, and difficult work to do research outside the English-speaking world, because, (you guessed it,) the references are not in English.

Finally, when we're writing Romance, we do not generally look at the French Revolution because you'd have to be barking mad to set escapist literature in the middle of folks getting their heads chopped off.  I mean . . .  really.

Friday, September 10, 2010

Giveaways at Romance Reviews and Today and Everyday

Yes.  There are folks out there who would rather have you as a reader than own a copy of Forbidden Rose.  I am sure this is misguided on their part


Here is Romance Reviews being part of BlogFest 2010 and giving away a copy of Forbidden Rose and Larissa Ione's Sin Undone.
(Forbidden is in great company, isn't she?)


Romance Reviews gave me a lovely review here, which was very nice of them even before they decided to include my book in a contest.  Their new site address will be here.
They have excellent taste in giveaways.

ETA:

This blogfest thingum just seems to have let loose a raging torrent of folks who want to give you Forbidden Rose.

Jeanette at Today & Everyday is attempting to rid herself of a signed copy.
I do not quite know how she got hold of one since there are very few signed copies of TFR out there.  Maybe a dozen at most.

(I will be signing TFR in Vancouver in October.)

Nonetheless, passing over her error in judgement in tossing Forbidden Rose to the Four Winds, I will mentiion she is offering it in the company of:

Murder and Magick by Isabel Roman (signed)
Truly Madly by Heather Webber
Scorched by Sharon Ashwood
Love You To Death by Shannon K. Butcher
Demon's Kiss by Eve Silver
Naked Dragon by Annette Blair
none of which I happen to have read yet, but we got some intriguing possibilities, do we not?  
Eve Silver wrote Sin's Daughter, among other books, and always has such lovely covers that I am entirely green with envy.  

Tuesday, September 07, 2010

Shooting your way out . . . with a flintlock

Hello folks,

A treat for you today.  I've invited an expert in antique firearms to talk about a subject near-and-dear to my heart -- pistol packing spies.

Random armed person of the Eighteenth Century
The problem with carrying dueling pistols and military ordinance in 1789 or in 1811 is that the general run of turn-of-the-Eighteenth-Century weaponry was big.
And heavy.



Not the sort of thing you could comfortably cart around in a purpose-sewn pocket in your jacket or cloak.

Not this small
Recognizing this sad fact, gunsmiths of the time made smaller weapons, intended for sneakier people.

It is those guns that I want to look at today.  So let me introduce my guest, 'Arizona'. 

Jo:  Welcome, Arizona.  We're glad to have you and your expertise with us.  Tell me about sneaky little guns in the era of the French Revolution and Regency.  These would have been ladies' guns?

Arizona:  Yes, they were.  Ladies had some firearms built specifically for them in the 1700's to early 1800's.  They were called "Muff Pistols".  These were small handguns which were easily hidden in a lady's muff, or handwarmer.  They were also small enough to hide within the voluminous clothing women wore in those days.


Jo: Did men carry them?

Arizona:  Though they were called ladies', or muff, pistols, many men carried them as they were considered to be what our small .380's and such are today.

Jo:  I notice men called them 'pocket pistols' when they carried them.  *g*  They weren't like modern guns, right?

Arizona:  These were flintlock pistols.  Percussion caps were designed in 1805, so it would be unlikely an actual percussion firearm would have been immediately available.

You will note, as you consider the various designs below, that firearms don't seem to have changed much since the early 1700's through the early 1800's.  That is true, though the "lines" of the firearms became more elegant and less "blocky". 



A little aside here, what we, today, would consider too large for one's pocket was indeed a "pocket pistol" during the period we are talking about.  Men wore greatcoats which had rather large pockets.  Thus, a pistol we would consider far too large for a pocket today would indeed fit into a man's greatcoat pocket.

Jo:  Can you show us some examples of these small Regency-era pistols?

Arizona: Here's a VERY good description of muff pistols, and the pocket type in particular.
Lady's muff pistol
 
From the 18th century small concealable pistols for self protection, were manufactured in Europe in large numbers. The picture shows a flintlock example manufactured in 1820 from Birmingham England.


While there were several notable firearms manufacturers, there were far more "cottage industry" gunsmiths who would make pretty much anything you requested.  Almost every medium to large city had several such gunsmiths.  The only comparable situation today is Iraq, Iran, and Afghanistan, where everything from matchlock firearms to AK-47's are made in home workshops.  Ammunition is made in the same way.

Measuring just over 4 inches (11.8cm) these lightweight guns were intended mainly for women. As they could easily be concealed in a Ladies hand warmer, they gained the name of Muff pistols.

Like many of this type of weapon it is fitted with a sliding safety catch to prevent accidental discharge.


Jo:  Ok.  How does my heroine load her pistol?

Arizona:  The shooter loads the firearm with black powder followed by a round lead ball.

This is usually done from the muzzle end, though, with some muff pistols, you unscrewed the barrel, seated the powder and ball, then screwed the barrel back on.
The ball was normally wrapped with a cloth patch, (though a piece of paper could be used in a pinch).

Once the powder was measured and poured down the barrel and the patched ball placed on the crown of the muzzle, a ramrod was used to force the ball down to the chamber where it was tamped against the powder, creating the charge. 

On larger pistols the ramrod was in it's familiar place under the barrel, for those who have seen "Kentucky Rifles" and other muzzle loaders.  In the case of smaller pistols, such as muff pistols, they generally came in a case, with a small powder flask, some balls, and a ramrod, which was generally kept in the case.

Remember, these were not thought to be used in a battle.  Rather, they were a last ditch self protection instrument, to be used when all else had failed.  You generally wouldn't have time to reload them, thus there was no need to keep the ramrod with the pistol.


Jo:  This took a while, this business of loading a pistol?
A three-barrel flintlock pistol

Arizona: Muzzle loading firearms were extremely slow to reload. Even experts were reported to need 15 seconds to reload a smooth-bore musket, with a much longer reload time for any rifled firearm. 
So some flintlock pistols were produced with anywhere from two, three, or four to as many as 24 barrels.  (The larger capacity firearms were of later manufacturer.) 


This photo and some of the information are from the Flintlock wiki, here.








Jo:  Wow.  Not something to carry around with you like a handkerchief, those bigger guns.

Arizona:  No, they were generally pretty heavy and rather large and bulky.

Most of the flintlock pepperboxes and multi-barrel pistols were of six or fewer barrels.  This was more due to the method of ignition (powder in the pan, which could be easily ignited by sparks from another barrel) than inability to design and build such a handgun. These designs tended to be costly to make and were often unreliable and dangerous.

While weapons like double barreled shotguns were reasonably safe, weapons like the pepperbox revolver would sometimes fire all barrels simultaneously, or would sometimes just explode in the user's hand.

It was therefore often less expensive, safer, and more reliable to carry several single-shot weapons instead.

Jo:  Right.  Carry a couple guns.  This sounds like such excellent advice I will have to have Doyle give it to somebody one of these days.
You have some audio-visuals for us?

Arizona:  The first You-Tube video shows how the flintlock works. Here.

This video shows the loading and firing sequence of a flintlock pistol.  Here.
   
And this one is an excellent example of loading and firing a flintlock musket through the use of paper cartridges.  Here.



Here to the side is the firing sequence for a flintlock.


Jo:  Let me add some more excitement --
See and hear the action of a frizzen, here
See and hear the action of the hammer here.
See and hear the gun fire here.

And some more interesting firing of period weapons here.

Now, Arizona, you have some pictures of the actual period pistols.

Arizona:  Here is a link to a small(er) double barreled French Flintlock Coat Pistol, ca 1750.  Another link to a French "Greatcoat Pistol" here.  And another small pistol.  Here.  This one shows some of the markings a royal arms dealer would have placed on their wares.  Here.

Jo:  That's beautiful workmanship on those.  And we see how the double barrels work.

I know there are number of folks who want details on the anatomy of a flintlock and the exact firing sequence.  I've put this below the cut . . .

Delve down below the cut and you will learn the origin of phrases like, 'flash in the pan,' and, 'to go off half-cocked'.  When we talk about 'lock, stock, and barrel', the 'lock' is the flintlock.
Cool, huh?

You will also become acquainted with the word 'frizzen' -  which is not the past perfect of an unfortunate day at the hairdressers.

Sunday, September 05, 2010

Surrey International Writers Conference CONTEST

There are just five more days to enter the Surrey International Writers' Conference contest.