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Category: Writing

Posts in which we talk about the writing craft and process

The Merchant Sisters circa 1903

I’ve been having some crazy days lately. I’ve been in this deep reflection stage, pondering the meaning of my life (here is a great opening for Monty Python fans) and imagining that I have made progress.

Reflection is a unique ability of man. I sometimes think it is somewhat of a lost art. Perhaps I am wrong? I’d like to think so…but with the advent of so many “sit there and be done to” mediums, it seems that solitude is less often experienced these days, and solitude is a necessary prerequisite.

I am sitting in front of a computer screen right now, even though at the moment I am talking to myself. But in seconds I could be anywhere in the electronic world, shopping, checking the weather in Burma, perusing my email, looking for a chat room (although I am not a chatter, I could look for a chat room). It is incredibly easy to do these things.

If I want to stand up and go to where I last left my remote control, supposing I can find it (if not, I will experience some unpredicted exercise) I can flick on the boob tube. There are even more boobs on it these days (of any sort you want to consider), and if soaps aren’t your cuppa there are all of those “reality” shows–most of which don’t seem the least bit real to me, but nonetheless. Of course, if one does not want these, or the news, there are movies–some exceptionally good–and “how-to” programs, a favorite of mine, because I can imagine doing something I don’t, can’t, or won’t.

The radio is fairly innocuous these days. I usually tune into my local public radio that serves up NPR and PRI and the like. They actually do foster some thought on my part, rather like reading a good book–but it didn’t used to be there. No, just a few short generations ago, one had to occupy oneself with engaging directly with another person, by viewing a live presentation, or by reading or writing or involving oneself with one’s hobby.

My grandmothers sewed, read, played cards, wrote letters or poetry, took walks or buggy rides. They took walks, took the train, or went boating with their sweethearts/husbands. They made picnic lunches and made them exquisitely–they packed lemonade, cake and homemade pickles, homemade bread and jam, sliced meats, chicken legs, cloth napkins and a wool blanket or a woven tablecloth to lay out, and all was placed in a willow basket. In the evening they played the piano, sung, and read their favorite ladies’ magazine.

I get nostalgic thinking of this world I only lived in, peripherally, as a child. I of course did not experience the horses–tractors and cars and trucks had arrived by the time I arrived in the world–but I listened to the stories and saw the photographs. And when I grew older and was more interested in listening to my transistor radio off in a corner by myself, these experiences were still part of me. They are to this day, as I remember them.

I’d like to thank my grandparents and other grand-relatives for this gift of the past, and I do wish I could somehow bring it back, at least in a small way. And that, I think, is why I write–and why my mother wrote, and why my grandmother wrote.

It is a gift of reflection, and a gift of bringing back to life things we love.

All the best in your life,
Laurie

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I am finishing up my revisions for my Governess and Marquess story, now titled Born To Scandal, due today, so I’m recycling an early blog of mine. It first appeared in June of 2006 (Have we really been doing this blog for so long?), but my thoughts about Regency Heroines are much the same.


Here’s the recycled blog:

Several weeks ago when I had the good fortune to join Risky Regencies (this was an early blog!), I prosed on forever about Regency heroes, fictional and those appearing on cover art (not to mention GB*Gerard Butler*). It is time I spoke about Regency heroines.

When I conceive a story in my head it almost always starts with the hero. Heroes are so much easier for me. Apart from the obvious reason that I love to fantasize about dishy Regency guys, I think it is because the men in those times were able to lead such interesting lives, while the women had very few options, unless they were willing to risk social ostracism or give up on respectability altogether and live in the demimonde.

In some ways I love to explore women who were willing to risk being shamed (Morgana running a courtesan school in A Reputable Rake, for example; Emily gambling in The Wagering Widow. I like even more to imagine what life would be like for those women outside of respectable society (Maddie, the ruined girl, in The Mysterious Miss M). My next Mills & Boon features a singer as the heroine (that would be Innocence and Impropriety).

All of these heroines require a mindset quite different from today’s woman, and it is sometimes hard to find that point where the modern reader can identify with the Regency woman’s predicament. Why be afraid you are going to wind up a prostitute? the modern woman might say. Why not just get a job?

The reality was, the Regency woman could not just get a job. She had to have references, even for such lowly positions as house maid or shop girl. And once ruined, any respectable employment was denied her.

There are plenty of weak, victim-like Regency heroine stereotypes – governesses (writing one of those now–but not stereotypical!!), servants of any sort, impoverished vicar’s daughters, ladies companions, abused wives – but I think today’s reader wants the heroine to be strong, not a victim. I truly believe there have been strong women in every era of history, certainly in the Regency as well. I like to explore how women of the time period rose above their constraints and refused to be victims.

You know what else? It is hard finding reasons for Regency heroines to engage in “intimacies” with those hunky Regency men. I think the Regency woman’s mindset about sex had to be quite different from our own. She’d worry about pregnancy each and every time, no doubt. No respectable man would want a society girl if she went and had sex with another guy first.

I’m rambling because I need to write proposals for my next two books and I don’t know who the heroines will be! My next Mills & Boon has a marquess for the hero (that would be The Vanishing Viscountess). I want to devise a strong heroine for this hero, whom I know down to the birthmarks on his—
(nevermind)

So! What kind of Regency heroines do you all like the best? Which ones are you tired of? Do you want that sexy read or doesn’t it matter?

Cheers!
Diane

(expect a brand new episode next week!)

I’m following Caroline’s lead in the business of shameless self promotion by showing you the book trailer I made for Dedication:

And now we have that over with, I’ll share the secrets of my plotting process with you. First of all, I have a visit from the Idea Elf. The Idea Elf whispers in my ear something like “Why don’t you write a book about …” and then his colleague, the Plot Fairy, comes to visit.

Yes, really. They are little people dressed in green and the Plot Fairy has lovely gauzy wings. They flit. They are cute. The Idea Elf tends to come around when I’m halfway through something and I have to tell him to go away and then he sulks. The Plot Fairy is a shy and wondrous creature whose visits are always unexpected and infrequent. I don’t know why the Idea Elf is male and the Plot Fairy female but it provides an excuse to post a pic of Orlando Bloom (who isn’t nearly as pretty as himself and the Idea Elf is rather more sort of green and wizened).

So here’s the latest from the Idea Elf:

As you know, a single woman, a friend or sister, was often invited to accompany the happy couple on their honeymoon. So Character A, companion to Character B, is in love with Mr. C. and then to her astonishment he proposes to Character B. B invites A to accompany them on their honeymoon. Now this is interesting because it could go a number of ways and so could they. It could be extremely sexy. It could be tender and reflective. It could be… calling the Plot Fairy. Come in, Plot Fairy. Plot Fairy, are you there?

Character A (a completely different A) is a woman whose reputation is dodgy because she’s had a string of failed engagements. Current fiance B turns up and begs to be set free because he’s gay and the guilt is driving him nuts. She suggests: a threesome … a drive in the park to clear his head … that he find her another potential husband superquick … Mayday, Plot Fairy. Are you receiving me?

Downton Abbey done right in the Regency: a houseful of conniving servants, upstairs-downstairs love affairs, and then … a body in the library (the butler done it with a blunt instrument!) … missing jewelry … a rude parrot … trapdoors … secret passages … a gaggle of women invited by the hero’s mother to try out for the position of bride … I’m actually writing this one and where is that Plot Fairy when you need her?

A terrible virus attacks the hot Dukes of Regency London, turning them into small brown dogs. The plucky heroine, an amateur scientist, joins forces with a renegade doctor to save the flower of England’s aristocracy but her heart is torn between him and a hot Duke whose DNA may provide the cure.

Now, are there any of these you’d actually want to read?

urlI’m a great fan of Downton Abbey and have faithfully watched each season. In fact, at this year’s Washington Romance Writers Retreat in April, I’m going to do a workshop on what Downton Abbey can teach us about writing Historical Romance. You’ll be hearing more on that later.

This week’s episode featured more on one of my favorite characters, Thomas, finely acted by Rob James-Collier.  (Don’t worry, though. I won’t give any spoilers in case you haven’t seen it yet)

imgresIn season one, Thomas was a scheming footman who would manipulate anyone to put himself in a good light. He’d get the dirt on the other servants and use the information against them, if he thought it would serve his own ends. He had it in for Mr. Bates from the beginning, never missing an opportunity to make Bates look bad. He even put the moves on one of the handsome houseguests, the foreign royal who seduced Mary and dropped dead in her bed.

In other words, Thomas was a villain. Along with O’Brien, Lady Grantham’s ladies maid, Thomas was the character we were supposed to hate, the quintessential bad guy.

In season two, though, something changed. Thomas went from being a character I loved to hate to someone more complicated. By the end of the season he was one of my favorite characters and still is.

If you want to make a villain sympathetic, this is how to do it.

Motivate him

In season two it became clearer that Thomas was a lonely man who wanted better for himself and who really had nobody who cared about him and no opportunities to aspire to more than service in an country house. I suddenly understood why he connived and clawed his way in life. When he is duped in his profiteering scheme and he loses everything, he has to go back into service. By this time you know what a difficult thing that is for him.

Make him vulnerable

In season two we saw a different side of Thomas from the smart-talking conniver. He went to war and was terribly traumatized by battle, so much so he lifted his hand out of the trenches and waits for it to be shot. That fear and desperation touched my heart.

Show his pain

Also in season two Thomas fell in love with an injured soldier who he tried to nurse back to health. His kindness and sympathy towards this man was unexpected, but showed that he, too, could have feelings for another person. When the soldier killed himself, Thomas was shattered. In season three he also breaks down into tears when Sybil dies, telling Anna, “There are few people in my life who’ve been kind to me. She was one of them.”

Now I know what makes Thomas who he is and I can see beyond his scheming facade. That is the trick to making a good villain. Show who he is, why he is the way he is, and show something of his humanity. If you do it right, you can even make the villain a character I can love.

Do you have a favorite villain? Why is he or she a favorite?

Are you watching Downton Abbey?

I’ll be selecting Anne Gracie’s winner at midnight tonight, so there’s still time to leave a comment for a chance to win a copy of The Autumn Bride.

 

 

I’ve been busy preparing for a writers’ retreat this weekend, preparing leftover meals for the family, baking my go-to oatmeal cookies (taking half, leaving half with the family to keep them in charity with me), getting a new laptop to replace the one that died a few years ago (my multi-draft writing takes a toll on technology), and generally getting psyched.

My friends and I have been doing these retreats for years and our formula is pretty fool-proof: a house on Cayuga Lake, laptops, notes, food, wine and chocolate. We write a lot during the day and in the evenings, we chat and watch romantic films.

I always come out with fresh ideas and often a big jump in the wordcount for my mess-in-progress. However, I learned during the earlier retreats that success doesn’t come from pushing too hard. It’s a good idea to think about goals beforehand, but once there, I just trust the process and let myself enjoy it.  I won’t check wordcount or the clock, or check if I’m on track.  I just enjoy my friends, the lake and the story, wherever it goes.  If I get stuck and the writing ceases to be fun, I switch gears. I go for a walk, I paddle on the lake, I meditate. If one of my friends isn’t busy, we may brainstorm. Or I might even take a nap! I go with the flow and something always works.

Friends of mine are going to the New England Chapter conference this weekend. I hope they have a wonderful, inspiring time.  It’s a conference I’ve enjoyed in the past but right now, getting my balloonist story finished is top priority.  As with retreats, I think it’s good to have goals for a conference. It’s also good to totally forget about them and be open to surprises.
Do you have anything fun and/or productive planned for this weekend?  How do you get yourself psyched for success?
Elena
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