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Category: Regency

Ruminations and an award

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I hope you’ll cross your fingers for me if you read this post by Saturday evening. My exciting news is that LORD OF MISRULE, my new release from last December, is a finalist for a prestigious 2019 Maggie Award as Best Historical Romance! And Saturday night is when the winners are going to be announced.

I was flabbergasted when I made the finals, but it is so thrilling that my first new book after a 16-year pause in my career has been so well-received. The other thing that makes this honor especially exciting to me is that I write “sweet”, and not only was this book competing with Historical Romances of all sorts of time periods, but it was also up against much hotter reads, which tend to be more popular.

I had the fun exercise of drafting what I’m calling my “fantasy thank you speech” which a friend at the Moonlight and Magnolias Conference in Georgia this weekend will deliver for me in the (rather unlikely) event that my book wins. But in that speech I mentioned that, ” Even though we are all writing about the emotional journeys our characters must take to arrive at deep and lasting love, omitting the explicit sex can make it harder to show the dance of attraction and doubt they go through.”

Thinking about “sweet” versus “hot” has made me think about all the kinds of risks we authors take as we try to do service to our characters’ stories. I tend to write unusual plots, and try to bring something fresh and different to each Regency story I write. Not all readers want that, of course! So it’s often a risk –and that tendency may be how I ended up here in the Risky Regencies sisterhood. Maybe over the coming months, each of us blogging here can talk about what she thinks is “risky” about the writing she does. I admit that I’ve been in a very “ruminative” mood lately, taking stock of where I am and where I’m going now that I am writing again.

What am I working on? Readers wanted more stories from Little Macclow, the Derbyshire village setting of LOM. I hadn’t planned on a series, but it turns out there is enough material there to mine. My current work-in-progress is a prequel to LOM, which I hope to release before or at least by December! It’s the story of Tom & Sally Hepston, who are already married when you meet them in LOM. Is it risky to write a series that wasn’t planned in advance? I guess we’ll find out!!

Do you read both sweet and hot romances? Do you like offbeat stories? What kind of risks do you see authors take, and which ones do you enjoy, or not enjoy?


Posted in Reading, Regency, Risky Book Talk, Risky Regencies, Writing | Tagged , , , , | 2 Replies

Books Every Georgian/Regency Author Should Read

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I recently found out that the blog I’d posted this on (Popular Romance Project) has been wiped from the internet, causing a dead link on my website. So I’m reposting it here to preserve it.

One of the topics that comes up a lot among historical writers is what research books are essential. If you ask your top ten favorite authors, you’d probably end up with a pretty impressive research library (and I’d LOVE to see other authors tell us about their Must Have Books in the comments). Here are mine. I think these books are must reads for anyone wanting to create an authentic Georgian/Regency world, and I’m going to talk a little bit about why.

The Rise of the Egalitarian Family: Aristocratic Kinship and Domestic Relations in Eighteenth-Century England by Randolph Trumbach (1978; ISBN 0127012508; OOP, used ~$40).

When writing a love story, you need to understand the mores of the times. One of the many, many useful things that Trumbach does in this book is discuss the evolution of the love match as a social ideal in the Georgian period. It’s all bound up with the Enlightenment and the Hardwicke Marriage Act and the slow descent of the nobility’s dependence on land for their fortunes. By the Regency period, Trumbach maintains that the love match had ousted the arranged marriage entirely and was well on its way to trumping matches based on social advantage and monetary considerations. So if you want to have that tension between generations, this book is a great resource for understanding where everyone might be coming from in their viewpoint of what would be ideal.

This book is also the main source for basic information that we use in every book, such as the time periods for mourning, marriage settlements, consanguinity. And it features tons of information about basic domestic issues such as the role of wives in the family and the raising of children. Really, it’s just an all-round great book for getting a solid understanding of what was going on inside people’s everyday lives.

The Regency Companion by Sharon Laudermilk and Teresa Hamlin (1989; ISBN 0824022491; OOP, used ~$200, use interlibrary loan).

This is just an all-round brilliant book. It contains a wealth of information about everything from the Season and courtship among the ton to basics about how people lived such as the clubs men frequented, the theatres, roles of servants, etc. I just don’t know any other book that provides the information this one contains. It’s essentially foundational.

20,000 Years of Fashion by Francois Boucher (1973; ISBN 0810900564: OOP, used ~$12).

I simply don’t know a better survey book for fashion. While I’m obsessed with clothing, I don’t think everyone else needs to be, nor do I think it’s a wise place to spend your time considering, “With a small bit of effort, he undid her gown and it fell to the floor” suffices to get you where you need to be. But I do think every writer needs to know enough not to make any glaring errors, and Boucher’s summaries and careful selection of images are perfect for providing that little bit of knowledge you need (and since it covers pretty much all of European history, you don’t need to buy a new book if you decide you’d rather write Victorian settings, or Medievals.

The Family, Sex, and Marriage in England 1500-1800 by Lawrence Stone (1983; ISBN 0061319791: OOP, used ~$1).

Stone not only delves into the basic makeup of the English family (and he mostly talks about the upper class, “Barons and up” as he labels them), but he has great charts that provide vital information regarding the average ages at which people in this class married, how many times they were married, under what circumstances they were likely–and unlikely–to remarry, etc. This book provides a sort of grounding for the history of your characters’ families and a general understanding of how the most basic building block of society evolved and functioned. I would also suggest his Road To Divorce to anyone who wants to write about characters with broken marriages.

The British Aristocracy by Mark Bence-Jones (1979; ISBN 0094617805; OOP, used ~$10).

I love this book! It’s extremely insightful about how the aristocracy think of themselves, what matters to them, and what the origins of those feelings are. Bence-Jones is an insider who lays it all out for us. I found the section on “The Concept of the Gentleman” extremely enlightening and also highly recommend it for the chapter on “The Aristocratic Character.”

The Art of cookery Made Plain and Easy by Hannah Glasse (1774; free on Google Books)

Though you might throw food in with the unimportant minutia, I think that’s a mistake. The devil of historic world building really is in the details, and nothing throws a well-informed reader like potatoes in a Medieval setting or iced tea in a Regency (or indeed in any book set in England, including a contemporary!). And this isn’t something you have to spend years studying to get a handle on. Glasse’s historic cookbook is free on Google Books and contains hundreds of period recipes. Plus, it adds depth to get little things like this right, and it’s fun to have you characters eat Maids of Honor rather than just lemon cheesecakes (and it’s good to know that period “cheesecake” is pretty much a modern cheese Danish too).

Peerage Law in England by Sir Francis Beaufort Palmer (1907; free on Google Books)

This is a basic guide to how peerages are inherited, disputed, and granted, with many examples laid out so you can really understand it. This knowledge is ESSENTIAL if you want to deal with tricky inheritances. Yes, it’s a very dry book, but you really can’t hope to just muddle your way though these issues. Basic questions that this book answers come up on my historical writers’ loop all the time (the most common one is usually about a peer losing his title if it’s proven that he’s illegitimate, which simply can’t happen; all challenges have to be made BEFORE the title is granted, during the review of the claim).

Posted in Clothing, Food, History, Isobel Carr, Reading, Regency, Research, Writing | 1 Reply

A Regency Trip to the Met

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When I was in New York City for the Romance Writers of America annual conference, one of the highlights was a trip to the Metropolitan Museum of Art with a group of friends, fellow members of the Beau Monde and Regency writers all. We spent the whole day in the museum.

First priority was a special exhibit on The Art of London Firearms, featuring firearms collected by The Prince Regent, later George IV.

This 1789 portrait by Sir William Beechey opened the exhibit. And, according to the Met, the Prince Regent was an excellent shot and an avid collector of firearms.

Here is a set of the Prince’s dueling pistols and their description:

A nice surprise at this exhibit was this 1815 gentleman’s navy wool tailcoat.

Next we wound up in a musical instruments section of the museum and among other beautiful instruments, we saw this early Italian pianoforte (1740) by the inventor of the pianoforte, Bartolomeo Cristofori.

On to the painting exhibits, there were surprisingly few items of British art, but there were these two treasures:

Salisbury Cathedral from the Bishop’s Grounds, ca 1825 by John Constable
Whalers, ca 1845
by Joseph Mallord William Turner

Turner is one of my favorite British artists, so that was a real treat.

After a lovely, relaxing lunch in the fine dining room of the museum, we went in search of the room from Lansdowne House in London that Victoria Hinshaw said was acquired by the Met and on display. What a treat, we thought, to be able to see something she’d just talked about in her presentation on London mansions for the Beau Monde conference the day before. We walked through room after room of mostly French stuff until finally asking one of the museum guards. Turns out it was removed for renovation! Here, though, is what we might have seen, courtesy of Laurie Benson, my fellow Harlequin Historical author.

That was it!!! After a visit to the gift shop we were off to dinner!

Posted in History, Places, Regency, Research, Risky Regencies | Tagged , , | 1 Reply

Shall We Dance? Part 3 -The Waltz

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Why does the WALTZ (or French “Valse”) fascinate us? I’m sure it’s partly because it was so scandalous during the Regency, and partly because we love the potential for romance when our heroes and heroines share the intimate dance. This is a long post!! Bear with me –I couldn’t choose what to leave out.

The waltz existed as a form of cotillion and of English country dances long before the scandalous single couple version of it was introduced to England during the Regency. It is those types of waltzing that Jane Austen references in her writings. Here are links to two examples of country dance waltzes, which utilize the familiar ¾ time rhythm:

The Northdown Waltz 1806 https://www.youtube.com/watch?v=Xl5Cf2zTKWc

The Duke of Kent Waltz 1801: https://www.youtube.com/watch?v=6vmUNDR8GE8

The waltz traces back to German peasant dances as old as the 16th century. Its history is similar to that of other dance types: what shocked the aristocracy and at first seemed beneath them eventually was adopted by them, because, well, why should only the peasants have fun? The turning, close-held waltz took hold in the higher regions of society by the 18th century in Bavaria and Vienna, and spread to France, where post-revolutionary society embraced it.

Why was the waltz so scandalous? The illustration at top, while exaggerated, gives you an idea, but this lovely video clip from the BBC explains most of it quite well. https://www.youtube.com/watch?v=6r0dKkkk2jk Besides the intimacy and close hold was the simple fact that the dancers were turning for much of the time, which could lead to ladies becoming dizzy and quite shockingly out of control of themselves!

In 1804 a German visiting Paris wrote, “This love for the waltz and this adoption of the German dance is quite new and has become one of the vulgar fashions since the war…” [the French Revolution]. The “new” form of waltz trickled into England slowly, scandalizing most of English society when they first saw it. The German ex-pats who made up the soldiers of the King’s German Legion are credited with introducing the waltz to residents of Sussex in 1804, but it was slow to catch hold in England, where moral codes were strict (well, stricter).

Early caricature of French “Incroyables and Merveilleuses” waltzing

In 1814, neither the waltz nor the quadrille were yet permitted to be danced in Almack’s. Some theorists say attendees at the Congress of Vienna (Sept 1814) first saw the dance there and brought it back to England. But Princess Lieven, wife of the Russian ambassador assigned to England starting in 1812, had been in Berlin prior to that assignment, so it makes sense that she learned the dance while there. She was the first foreign-born patroness of the mighty Almack’s social club and is said to have introduced the waltz there in 1815.

Dance Master Thomas Wilson’s book “A Description of the Correct Method of Waltzing” came out in 1816. His famous illustration of the “nine positions of the waltz” is below (you can see the numbers underneath each one if you look closely). By then, the dance had become prevalent enough to be ridiculed by the cartoonists of the day, and popular with the young who always want the “new” thing.

Thomas Wilson’s “Nine Positions” of the Waltz

The royal courts, generally foremost in setting fashions in many areas, consistently lagged in the area of dance. In July of 1816, the waltz was included in a ball given in London by the Prince Regent. A few days later an editorial in The Times complained: “We remarked with pain that the indecent foreign dance called the Waltz was introduced (we believe for the first time) at the English court on Friday last … it is quite sufficient to cast one’s eyes on the voluptuous intertwining of the limbs and close compressure on the bodies in their dance, to see that it is indeed far removed from the modest reserve which has hitherto been considered distinctive of English females….”

The Regency form of waltz was closely related to other dances: the German Landler, and the French Allemande, and the other dances that drew on these forms. At her Capering and Kickery website (kickery.com) dance historian and teach Susan de Guardiola writes: “The early waltz looked quite different than the modern form. Dancers moved on their toes in a different pattern than what is seen in today’s competitive ballroom dancing, and adopted a wide range of “attitudes” of the arms…. Nor were waltzes choreographed, though Wilson suggested dancing different waltzes in sequence [slow followed by lively and back to slow again]. Entire ballrooms of dancers did not perform identical moves.” [Gail’s note: The name sometimes used for Regency waltz is the “pirouette waltz”.]

This video of five dances performed at the Royal Pavillion in Brighton is long, but at about 5:40 the dancers perform “The Allemande a Deux” (1780) which is a French modification of a German Landler. https://www.youtube.com/watch?v=17QPpXyCql4

If you compare it to the video of the single couple performing the Regency waltz (see next link), I think you will see some of the similarities, and you will also get a sense of how Regency waltzers did not all do the same figures at the same time. Regency Waltz/Valse 1826: https://www.youtube.com/watch?v=_7B_Qsdnn5E (Video from the French National Historic Dance Championships –you have to love a country that holds such a thing!!)

If you are interested to know more, I found a fun video that compares the Regency style “pirouette” waltz to the later versions, here: https://www.youtube.com/watch?v=fq0QxdsoUzo

Do you think our modern version of the waltz has lost some of the “spice” of this earlier style? Or are you glad that our version is a lot easier to dance?

Posted in Frivolity, Music, Regency, Research, Risky Regencies | Tagged , , , | 4 Replies

Concerning Cosmetics

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With almost everyone I know preparing for the annual Romance Writers of America conference, my Twitter is full of chatter about clothing, shoes, and makeup. So I thought I’d share a little about Georgian cosmetics (and yes, even when they supposedly went for the “natural look” in the Regency, they were using various concoctions to enhance what nature gave them).

Rouge

From The Art of Beauty: “If ever paint were to be proscribed, I should plead for an exemption in favour of rouge.”

One of my favorite books for this kind of thing is The Lady’s Stratagem by Frances Grimble. She put together information about hygiene, cosmetics, fashion, laundry, and pastimes from six French ladies magazines from the 1820s. I know I’ve heard a lot over the years that women of the Regency didn’t paint themselves the way the ladies of the 18th century did, but I’m not convinced that’s true. I think it more likely they just opted for a more subtle application. The huge number of recipes for cosmetics in the period magazines convinces me that this is true. Ladies weren’t just pinching their cheeks for color, they were painting it on.

True Vegetable Rouge, or Rose in a Cup: Take the kind of red lac extracted from the safflower, which is sold cheaply under the name “rose in a cup.” Dry, it is a greenish-bronze. Dissolve it in a glass of water, and pour it on talcum power of on a piece of fine woolen. In this state it returns to a beautiful rose-colour. You may apply it to your cheeks without withering them, and if you have been careful in preparing the hue, the rouge will not be detected.

Portuguese Rouge: Of Portuguese dishes containing rouge for the face, there are two sorts. One of these is made in Portugal, and is rather scarce; the paint contained in the Portuguese dishes being of a fine pale pink hue, and very beautiful in its application to the face. The other sort is made in London, and is of a dirty, muddy red colour; it passes very well, however, with those who never saw the genuine Portuguese dishes, or who wish to be cheaply beautified.

Spanish Wool: Of this also there are several sorts; but that which is made here in London, by some of the Jews is by far the best. That which comes from Spain is of a very dark red colour, whereas the former gives a bright pale red.

Spanish Papers: They differ in othing from the above [Spanish Wool]; but the red colour, which in the tinges the wool, is here laid on paper; chiefly for the convenience of carrying in a pocket-book.

Chinese Boxes of Colours: These boxes, which are beautifully painted and japanned, come from China. They contain each two dozen of papers, and in each paper are three smaller ones, viz., a small black paper for the eyebrows, a paper of the same size of a fine green colour, but which, when just arrived and fresh, makes a very fine red for the face; and lastly a paper containing about half an ounce of white powder (prepared from real pearl) for giving an alabaster colour to some parts of the face and neck.

A further quote concerning the safety of these concoctions: “As to the carmine, the French Red, the genuine Portuguese dishes, the Chinese wool … they are all preparations of cochineal…and the least harm need not be dreaded from its use.”

Eyelashes & Brows

If you look at period Georgian portraits, you don’t see a lot of emphasis on the eyes. Not like today. But there were certainly recipes out there for cosmetics to darken the lashes and brows. The following are from one of the books quoted in The Lady’s Stratagem: To blacken the Eyelashes and Eyebrows. Rub them often with elder-berries. For the same purpose, some make use of burnt cork, or clove burned at the candle. Others employ black frankincense, resin, and mastic; this black it is said, will not come off with perspiration.

Wash for blackening the Eyebrows:  First wash with a decoction of [oak] galls. Then rub them with a brush dipped in a solution of green vitriol, and let them dry.

Black for the Eyebrows:  Take an ounce of pitch, a like quantity of resin and of frankincense, and half an ounce of mastic. Throw them upon live charcoal, over which lay a plate to receive the smoke. A black shoot will adhere to the plate; with this shoot rub the eyelashes and eyebrows very delicately. This operation, if now and then repeated, will keep them perfectly black.

Kohl: Kohl, of course, is ancient. With all the trade the English had with India, there’s no reason to assume that Kohl wouldn’t have been readily available. The OED clearly shows the word was known, though I see it in foreign contexts rather than mentioned as a cosmetic in use among the English.

1799 W. G. Browne Trav. Afr. xxi. 318 If any thing be applied in these flussioni..it is generally kôhhel (calx of tin mixed with sheep’s fat).

1817 T. Moore Lalla Rookh 11, Others mix the Kohol’s jetty die, To give that long, dark languish to the eye.

Posted in History, Isobel Carr, Regency, Research | 1 Reply