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Monthly Archives: June 2012

This week I am doing a giveaway to celebrate passing the mark of 100,000 ebooks sold. 🙂  Being a writer, I ought to be able to find the words to express how it makes me feel to see my stories getting a new life and reaching new readers.  But all I can say is I’m doing the happy dance, thought perhaps not quite as gracefully as this lady!
As I look at my backlist, I remember how much fun I had writing each book. The traditional Regency genre may have been a niche that didn’t pay well, but my editors allowed me a lot of creative freedom. I could let the sex happen naturally and go as far (or not) as it made sense for the couple and the story. I could experiment with everything from a romp to a Gothic. I took my characters everywhere from the villages of the Cotswolds to the Cornish coast. My heroes were not all rakes; I could give the nice guys a chance, too.
I indulged in a lot of different fantasies with these books. It’s one of the great things about being a romance writer and reader. Even if you’re happily married, a little fantasy never hurts!
Since I’m in a good creative place, my current favorite fantasy is my work-in-progress. At other times it may more closely resemble a demon-infested swamp, but right now it’s wonderful. Much of the story takes place in the South Downs of Sussex, a spot I chose because it’s a plausible balloon-ride from London and also because I lived there for three years on international assignment. This picture shows the South Downs Way, parts of which I have hiked. My hero looks a bit like John Corbett, not the way he was in Sex and the City but the way he was in Northern Exposure.
What would your favorite romantic fantasy be? Is it based on a book or film? Where is it set?  Who does the hero look like?
Comment for the chance to receive the ebook of your choice from my titles (complete list at  www.elenagreene.com/books.html). Void where prohibited. You must be over 18. No purchase necessary. Post your comments by midnight EST on Thursday, June 14th.  Please include your email address or check back next Friday, June 15th, for the announcement post.
Elena

In between work, home, and the constant urge to nap lies the writing. And, of course, the reading.

I seldom reread, but now that I have an ereader, I find myself rereading way more often than before–previously, if I reread that meant there was another book I wasn’t reading for the first time. With an ereader, all of those books are still right there, which means that if I so choose, I can switch out to another book with a literal press of a button.

So this week I reread one of my favorites, Amanda Quick’s Deception. When I returned to reading romance, it was Quick whom I first glommed (before I even knew what glomming was!). Deception was my favorite of her single-title books, telling the story of Jared, the very organized, slightly dull businessman who looked like a pirate (one eye, velvet eye patch, long hair, refusal to wear cravats), and Olympia, the self-proclaimed “woman of the world” who’d nonetheless never left her small village.

The prose veers on the purple–“womanly portal” is used more than once, and there are some parts I, admittedly, skipped. But the passion between them is delightful, and the book–and the others I’ve been reading–help inspire me to write my own romance when inspiration flags. Because, you know, it can be difficult to get inspired for all kinds of romantic frolics when the dishes have to get done.

Many authors can’t read within their own genre when they’re writing; I find the opposite, that I crave reading historicals when writing them, and definitely want to read as much romance as possible in general. There is only one author whom I cannot read while writing myself, and that is Carla Kelly, whose voice is so strong it infects mine, and I find myself writing a lot like her, which is not me.

If you’re an author, can you read within your genre when writing? What old favorites do you like to go back and dive into again? Are there authors that just haven’t stood up to the test of time?

Megan

 

Posted in Reading, Writing | Tagged | 6 Replies
A few weeks ago I posted some fun stuff about ballooning but today I’ll talk about the risks taken by the early aeronauts.
Pilatre de Rozier, along with the Marquis d’Arlandes, was one of the first aeronauts to go up in a hot air balloon (Montgolfiere). He was also the first to die in a balloon accident. After a number of hot air balloon flights, De Rozier planned a Channel crossing. Since a Montgolfiere could not carry enough fuel for such a flight, he devised a hybrid hot air/hydrogen balloon. De Rozier himself may have been concerned about this combination of airborne furnace and a highly flammable gas, but nevertheless he and his companion, Pierre Roumain, set off in June of 1785. Accounts I’ve read vary as to whether the balloon actually caught fire or not. What is certain is that the balloon crashed, killing both aeronauts.
The earliest English balloonist, James Sadler, had many misadventures. During one flight, the balloon dragged him for several miles, illustrating the difficulty of landing in windy conditions. Another time he ended up in the Bristol Channel, where he was rescued by a boat. Sadler’s son Windham was the first to cross the Irish Channel in 1816. But sadly, he died in 1824 when his balloon struck a chimney stack during an attempted landing.
Another famous tragedy was that of Sophie Blanchard, the wife of balloonist Jean-Pierre Blanchard. After his death she continued ballooning, making over 60 ascents. However in 1819 her luck ran out. During an exhibition over the Tivoli Gardens in Paris, the fireworks she was letting off ignited the hydrogen. Her balloon crashed onto the roof of a house and she fell to her death.
Another English balloonist, Thomas Harris, died in 1824.  He was trying out a new safety mechanism: a gas discharge valve intended to quickly deflate the balloon and thus prevent the balloon from dragging the car (basket) and its passengers on landing. Theories differ on how it happened, but the valve must have discharged prematurely, setting the balloon plunging. Thomas Harris was killed but his companion, Sophia Stocks, survived. According to one account (possibly romanticized), Harris jumped out early to lighten the balloon and thus save Sophia’s life.
So now I leave it to you to guess which of these perils might threaten my balloonist hero.
And now congratulations to librarypat! You have won an ebook of your choice from my titles. Please email me at elena @ elenagreene.com (no spaces) and let me know which book and format you’d like.
Elena

I read in many genres, but one thing that stays consistent throughout all the genres I read is that I like there to be many, many dark moments.

I like it when I read something and I get that scared whoosh in the pit of my stomach as one of the book’s characters does or says something that moves them irrevocably towards a terrible end (although it’s not irrevocable, is it, since this is a romance, and we have an HEA. But at that moment it seems irrevocable).

I think that’s why I like Mary Balogh so much; her dark moments are so agonizingly painful for one or both of the characters. It’s too easy, as a writer, to want to keep things easy for your characters; after all, you created them, you like them, and they feel like friends (not to be all woo-woo, but that’s how I feel, at least).

But as writers, we have to make things difficult, or the ultimate payoff won’t be as sweet.
Some of my favorite authors–Anne Stuart, Stacia Kane, Karen Marie Moning, George R.R. Martin (still waiting for the payoff there), our own Carolyn Jewel, Brent Weeks–are amazing at tearing their characters apart as they try to reach some form of happiness.

Do you like the superdark moments in books? Which authors do it the best?

Megan

Posted in Reading, Writing | Tagged | 2 Replies

I received the author copies of A Not So Reputable Gentleman? last Friday, and there is nothing like seeing the book in its tangible form. Even ebook-Kindle-loving me savors holding the book in my hands and flipping through its pages.

I’ll do an “official” introduction to the book near its release date of July 24, but revisiting the book after several months reminded me of some of the essential elements of the story.

My hero and heroine were secretly betrothed before the book begins. Secret betrothals, while favored in fiction (e.g. Edward Ferrars and Lucy Steele in Sense and Sensibility; Frank Churchill and Jane Fairfax in Emma), were frowned upon in the real Regency world. In fact, it was considered a serious moral lapse.

Unmarried men and women in society were not permitted to be alone together and were expected to meet only in carefully chaperoned circumstances, like balls and other society parties.

Before a betrothal, young men and women were forbidden to use each other’s Christian names. They could not correspond by letters. They could not exchange gifts. They could not touch in any kind of intimate way and certainly could not kiss.

My hero and heroine had broken nearly all these taboos, although they, of course, considered themselves betrothed. In public, however, any show of particular attention or lapse of correct behavior would have given them away. Society was quick to assume a serious attachment on any sign of particular attention between a couple.

A secret engagement typically meant that there were reasons parents would not approve of the match. During the Regency a parent’s approval was expected if the child was under 21 years of age. Parents naturally wished for socially and financially secure marriages for their children. At the time of my book’s beginning, my hero was neither financially secure or socially acceptable.

By the 1800s a betrothal became more of a gentleman’s word than a contract between families. Even though suing for breach of contract was no longer the norm, a gentleman was expected to keep his word if he asked a woman to marry. A gentleman was disgraced if he broke an engagement and his fiancee was considered damaged goods. The lady was the only one who could “cry off” but then she was considered a jilt.

This, of course, makes great fodder for Regency Romance Novels. In reality, it is what led Wellington to marry Kitty Pakenham. When Kitty had been young and vivacious Wellington had courted her, but his suit was not accepted by her family. When he returned from India, Kitty had become pale and sickly, but Wellington realized that she had considered them betrothed all that time. He felt duty-bound to marry her as a result.

A secret betrothal held no such protections for the couple. By its secrecy, words–and hearts–could be broken without any social cost, although the emotional cost could be enormous.

In matters of marriage, the Regency was, like in so many areas, a time of change. In the 17th and 18th century society marriages were arranged by the parents and were secured for financial gain or rise in social status. By the Regency, couples wished to marry for love. Some blamed this foolish notion on the reading of novels.

Do you like secret betrothals in Regency romances? What about arranged marriages?

If you would like a chance to win a copy of A Not So Reputable Gentleman?, enter my part of the Harlequin Historical Authors Summer Beach Bag Giveaway. For more chances at other prizes and the grand prize of a Kindle Fire, enter daily. See details here.