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Monthly Archives: May 2011

‘Twas on a May-day of the far old year
Seventeen hundred eighty, that there fell
Over the bloom and sweet life of the Spring
Over the fresh earth and the heaven of noon,
A horror of great darkness, like the night
In day of which the Norland sagas tell,
The Twilight of the Gods. The low-hung sky
Was black with ominous clouds, save where its rim
Was fringed with a dull glow, like that which climbs
The crater’s sides from the red hell below.
Birds ceased to sing, and all the barnyard fowls
Roosted; the cattle at the pasture bars
Lowed, and looked homeward; bats on leathern wings
Flitted abroad; the sounds of labor died;

Read the whole of John Whittier Greenleaf’s poem here.

The “far old year” of the poem was 1780, and May 19 the day on which darkness descended upon a huge swath of New England from Portland, Maine south, with duskiness extending as far as New York. Philadelphia was not affected. Some thought it was the end of the world; some were amazed at the way the light changed colors, silver appearing as brass, green grass taking on a new richness.

The day was ordinary enough at first, although people remembered that in the few days before the sun had assumed a strange, rusty color in a yellow sky. And then in mid morning darkness fell, with all the phenomena that Whittier described (although he was born after the event almost certainly he knew those who had experienced it first hand). It lasted over 36 hours.

In some places, the darkness was so great, that persons could not see to read common print in the open air…. The extent of this darkness was very remarkable.

The darkness of the following evening was probably as gross as ever has been observed since the Almighty fiat gave birth to light…. A sheet of white paper held within a few inches of the eyes was equally invisible with the blackest velvet.

By 12, I could not read anywhere in the house — we were forced to dine by candle light. It was awful and surprising.

So what did cause the Dark Day of New England? Tree ring analysis from Algonquin Provincial Park in eastern Ontario has revealed that it was smoke from massive forest fires.

I love this sort of phenomena even if I’d never dare invent something similar and include it in a book. That’s not to say I’d want to experience 36 hours of darkness, but if it did happen (and you weren’t busy praying or drinking like New Englanders in 1780) and you had only candlelight, how would you spend the time?

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What if you were asked What is a Romance Novel by someone who doesn’t read romance novels? A relative asked me this question. She’s an educated, well-read person, so I wanted to give her as good an answer as I could.


This is what I said:

Romance novels can be incredibly diverse, encompassing history (like me), suspense, elements of women’s fiction, comedy, paranormal, inspirational – you name it. They can also vary by tone from light “romps” to darkly emotional. But what they all have in common is that they are telling the story of a romance. The book is about the romance. The story is the romance–How two people fall in love and find their happily ever after. The happily ever after is essential. A romance is not about doomed romance or tragic romance. It is a celebration of successful romance.

What I mean is, an historical romance is not about the historical events; it is about how two people manage to find love together. Historical events might impact on them, but the story is about their romance. Same with Romantic Suspense- the story is not about—say—a murder mystery. It is about how two people find love together while impacted in some way by a murder mystery.

Because of the focus on two people falling in love, romance novels are basically character focused. And because nobody would read a book about a romance that goes smoothly from first meeting to the wedding day, there has to be conflict. There must be forces driving the couple apart as well as the attraction between them that make them fall in love.

The very best conflicts are internal ones, things about the personality or emotional characteristics of the hero and heroine that drive them apart. External conflict should also play a part. External conflict can often be what the hero and heroine think is keeping them apart, but really it is something inside them that they need to change in order to have their happy ending.

Romance novels today mostly have strong heroes and heroines. Gone are the victim heroines who must passively be rescued by the hero. Heroines need to act on their own behalf just as much as the hero. Characters must be three dimensional and must act in sensible ways or in ways that are understandably motivated.

The hero and heroine should not be “Dudley Do-Right” perfect; they should have flaws, ways they need to change in order to have their happy ending. The conflict should not be something that could be solved by a conversation. The hero, in my opinion, should be someone the reader will fall in love with; the heroine should be someone she’d like to be.

There are some “mostlys” we see in romance novels:

The hero and heroine mostly meet in the first few pages.
The hero and heroine are mostly together for most of the book
The plot is mostly fast-paced with a major turning point in the middle of the book and a “Black Moment” toward the end.
But none of these are hard and fast rules.
I also provided some links:

The best place to start is with Romance Writers of America. Here’s their take on what constitutes a romance novel:
Be sure to click on the link to the various subgenres as well.
Here’s a nice article from a respected romance review site where authors say what they think makes a romance.
Here’s another description – The essential elements of a romance novel according to Pamela Regis
Pamela Regis is an academic who has studied, taught, and researched the romance genre. She’s written a scholarly work on Romance Novels: A Natural History of the Romance Novel
Here’s a little summary:
And from my publishers, Mills & Boon, the UK branch of Harlequin- what constitutes a perfect romance

Okay….so, how did I do?

How would you have answered the question What is a Romance Novel?
What links would you have provided?
Speaking of romance novels, my cover of Chivalrous Captain, Rebel Mistress is still up for best Historical cover at Cover Cafe. (So is one of Amanda’s covers) Vote here if you haven’t already, but don’t forget to vote in at least three categories.
On Thursday at Diane’s Blog, my guest will be Colleen Gleason, talking about her new adventure in publishing!

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Anthony James Craven, the Earl of Wickham, is dubbed Lord of Wicked for good reason. He lives and breathes seduction – until he mistakenly beds the wrong woman and is forced to marry the sensible, reserved Melissa Goodly. He intends to offer Melissa security and position, nothing more. Once they marry, Melissa cannot understand why her devastatingly attractive husband does not come to her bed. The more he pushes her away, the more she is resolved to turn the tables and open her shuttered heart to love. And though Anthony tries to resist the sensual siren that his wife has become, his plans for a companionable relationship are unravelling in the most pleasurable way…

Today’s guest is Bronwen Evans who’s here to talk about her book INVITATION TO RUIN. Bronwen, congrats on your debut. Did you always intend INVITATION TO RUIN to be the first of a three book series, and what are the challenges of writing a series?

Thanks for having me over today. My INVITATION TO… series was always going to have at least four books, but I’ve had a few readers ask for Cassandra’s book – can I redeem her? That’s a challenge and I’m thinking about it. So maybe there will be five books. I’m only contracted for two, so we will have to wait and see how sales of book one go.

As a reader I love series romances, so it’s only natural that I wanted to write a series. Thankfully, I love plotting. Part of the fun of writing a series, for me, is plotting out the overarching story and then each individual book before I start writing them. I think that’s important because readers want to see all the characters continue on through the books, so you have to understand how they are going to interact and enrich the stories.

The challenge in writing a series is to have enough interesting and engaging secondary characters that make the reader want to read their story’s too. Stephanie Laurens (one of my favorite Regency authors) did this really well. The Cynster books are still my all-time favorite series. The secondary characters in each book were very compelling. They needed a book of their own.

Already I have fans wanting Rufus Knight, Viscount Strathmore, and Richard Craven, Anthony’s twin brother’s stories.

Tell us your “call” story.

It all seemed to happen fairly quickly. I finished INVITATION TO RUIN at the end of October 2009. It was my first completed manuscript. Although I had been trying to write for a few years, I had never finished a book before – loads of half completed books – would be writers, don’t do that – you can’t sell what isn’t finished! So I didn’t have any expectations for the book. I sent off a query letter to two editors who I thought might be interested in the book and three agents. I got a full request from all of them BUT in the mean time (there is a lesson here – don’t send out queries until the book is polished and ready) my critique partners suggested some changes (and they were right) to one chapter that meant re-writing the last five chapters.

So instead of sending the full, I sent the first three chapters, hoping nobody noticed. My reasoning was, why hurry the re-write if they weren’t interested. Blow me; four came back asking for the rest, one agent declined. It was now about 15th December 2009, and I was coming up for my Christmas break. I thought, I’ll finish the last remaining chapters in my break, and send in on 3rd January. However, Megan Records from Kensington rang me in New Zealand on the 20th December, chasing the rest of the book saying, “I think I want to buy it.” I could not believe it – I was so excited and nervous – three chapters do not make a book!

I came clean and told her the situation. She was happy to wait. On 1st January 2010 I sent the finished book to everyone and on 3rd January, Melissa Jeglinski at The Knight Agency offered me representation (she’d come to the RWNZ 2009 Conference and I’d pitched to her) and on 7th January 2010 I had a two book deal from Megan. It was a dream run and it happened so fast my head was spinning. I still can’t quite believe it.

Needless to say I’ve fallen on my feet with both Megan and Melissa. It gets confusing sometimes – Megan and Melissa. I call them my M&M’s – sweeties.

What is it that attracts you to the Regency?
I’ve always loved reading Regency. The vibrancy and vividness of the period is appealing. The customs, behavior, clothes, houses, peers of the realm, ballrooms, virgins, absurd rules which everyone loves to break, the rakes, the clever women who try and mold the world to their ends, even when all the rules are stacked against them. As an author all of the above makes it so much fun to write. The period is so stifled and yet so risqué. It’s a writers dream come true.

Besides, I think my voice suits Regency. At my very first RWNZ conference, Paula Eykelhof, (Senior Editor HMB) told me to write what I love reading. So I did. She was right of course.

What don’t you like about the Regency?

Well, I suspect the reality of the time period was nothing like fiction. War, disease, poverty, lack of personal comforts and the fact woman had very little, if any rights, would make it a terrible time to have lived. Especially for intelligent women. You’d have limited or no control over your life.

One of your subplots involves the abolitionist movement. Would you like to tell us about the research you did.

I remember watching the movie, Amazing Grace, about William Wilberforce and I thought it interesting that in all the Regency period books I had read, no one mentioned slavery, yet it went on in England. Also, I thought about women’s rights or lack of them during the Regency period, and thought it would be interesting to have a heroine understand the concept of slavery and how it applied in her case and to others. The next step was obviously to have a hero whose background was in slave trading.

The movie Amazing Grace talked about the about the Anti-Slave Trade Act that was passed in 1807, making it illegal for British ships to carry slaves. I did a lot more research through books etc The Act was a very astute political move. Keeping most happy. It made England look as though they were trying to halt the trade, yet still allowed slavery to continue. England didn’t abolish slavery until 1833.

Still, some information took a lot of digging. I found out the largest slave trading port was at Bristol. Some of the hardest information to ascertain, was things like the price of slaves in England.

Tell us about being a twin and how you use that in your books.
I don’t really know what it’s like not to be a twin. Leigh has always been with me and is always experiencing life at the exact same time as me. That’s good and bad. You always have someone to discuss issues with and to experience important events in your life.

I wondered what it would have been like having a twin, but not being with them while growing up. How would I be different, how would that affect our relationship. Hence, Anthony, my hero, is brought up by his evil father and looks like his father. Richard is brought up by his gentler mother and looks like his mother. As they didn’t understand genetic in those days, Anthony assumes that as he looks like his father, he must be evil too. While Richard, looking like his mother must be an angel.

RT’s review describes your book as having “…a tortured hero that will delight the reader as much as he delights the heroine. A strong heroine, some wonderful secondary characters and a villain who is truly evil …” Which of these characters did you most enjoy writing?

I loved writing all of them because each of them was integral to the story and the emotional journey of the hero and heroine. Writing Anthony was emotional. To have his upbringing, to have suffered like he has, yet still be capable of love – he was such a wonderful character. Melissa was the perfect woman to help him. Intelligent, compassionate, and she has such a big heart. Philip, the villain I made completely evil. I gave Philip the exact same childhood background as Anthony, to show how someone can overcome their upbringing if they are strong enough. Anthony turned his back on evil, while Philip embraced it.

Tell us a bit about the next book in the series and when it’s coming out.

INVITATION TO SCANDAL is Rufus Knight, Viscount Strathmore’s book. He’s Anthony’s friend who works for the Crown. In INVITATION TO RUIN, Rufus asks for Anthony’s help to stop a white slavery ring. In INVITATION TO SCANDAL, Rufus is trying to atone for his father’s past. His father died amid rumors of treason, and Rufus is determined to learn the truth by catching a French spy using a Kent smuggling operation. But when Rufus discovers the true identity of the smuggler, he faces his biggest conundrum, what’s truly important in life, love or honor? INVITATION TO SCANDAL is due for release in 2012. After that look out for Richard Craven and Madeline Knight – Rufus’s sisters – story.

Thanks for having me over at Risky Regencies, it’s been fun. Leave a comment or answer the following question and go in the draw to win a signed copy of my book.

Q: What is Anthony’s middle name? Hint – read the first chapter excerpt of INVITATION TO RUIN.

Reading Megan’s post on Breaking Rules last week and some of the comments it generated made me think about common tropes regarding romance heroines and their looks.

I’m not sure there’s a rule that heroines need to be beautiful, although it’s definitely a common trope. In my mind, it goes along with the billionaire or duke (depending on subgenre) hero—a fantasy that’s OK in moderate doses and not taken too seriously.

I do get put off by books that continually emphasize the heroine’s beauty, especially when in her own point of view. It grates on me when the heroine repeatedly tosses her red-gold hair and flashes her sapphire eyes. It’s clumsy writing and yet such books can be popular, maybe because some readers love that fantasy so much.

I want the knockout heroine to have some substance. It’s fun when she recognizes her assets and uses them (as in BEAUTY by Judith Ivory) or if she has to downplay them in order to be taken seriously (MISS WONDERFUL, by Loretta Chase). It is going too far if the heroine is completely unaware of her beauty (false modesty) or is too full of self pity because people don’t value her for anything else.

Then there’s the trope of the too-tall, too-thin, too-whatever heroine, or the one with a limp or a crooked nose or mismatched eyes, or just plain in some way. I think that appeals to many of us who lived through an awkward phase, or are insecure in some way about our looks. We may long for, and with luck find, someone who appreciates us as we are. (Hopefully, in time we learn to do that for ourselves.) There’s also the fantasy of being made over, which can be really fun.

This trope can fail if the heroine only thinks she is plain, i.e. she thinks she’s too thin or hates her red hair, but we know everyone else can see she’s gorgeous. Again, it’s false modesty, really a kind of narcissism. Other ways the trope fails is when it’s a gimmick to inspire sympathy, or the heroine dwells too much in self-pity.

Done right, the plain/odd heroine can be very cool, especially if the heroine and others learn to see her physical traits as part of a total package they appreciate. The classic example is JANE EYRE. Among modern historical romances, my favorite (perhaps one that spawned some bad imitations) is the tall heroine with mismatched eyes in Mary Jo Putney’s THE RAKE AND THE REFORMER.

I’ve also enjoyed the descriptions of several of Julia Ross’s heroines: one with a longish nose (NIGHT OF SIN) and another who is freckled (CLANDESTINE). Maybe these stories go where Janet and Amanda were suggesting: the heroine of ordinary looks who doesn’t have any hangups about it, and whose hero enjoys her physical quirks along with everything else.

What do you think about these common tropes regarding heroines and their looks? Any particular sorts of heroines you enjoy reading about, or would like to see more of?

Elena

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I’m going to be speaking at NOLA Stars one day workshop on June 11 on just this very topic and although I have some ideas I’d love to hear yours.

Remember the Duke of Slut and the Regency Police?

For me the divide between Regency Fantasyland and history is becoming even wider and I think that’s a shame. Did all the hot young dukes in London really own private distilleries from whence they obtained their never ending supply of whiskey? Apparently they did, but that’s not my point. Really. We’ve created an alternate history with its own conventions and characteristics but I think providing this comfort zone is a mistake. Don’t we read historicals to go to a time and place unlike our own and wonder at the differences in manners and behavior we find there?

From a structural crafty point of view, I think the conflict established by the standards of the time regarding love and marriage should provide as much tension as anything else the hero/heroine might do or feel. The emotions should bridge the gap of two centuries and those emotions, since we write romance, should be what makes us identify with the characters. We must make the assumption that falling in love is pretty much the same whenever/wherever you live.

What do you think? Do you enjoy those familiar points of reference, or do you want to feel that shiver down your spine when you realize that you are indeed in a different country?