She is an adventurous one, and a planner. (This makes it sooo easy for me). So the two of us flew to the coast and spent a few days adventuring as she had planned.
We walked through Balboa Park. We ate and shopped in the Gaslamp quarter. We spent a day on Coronado (more about that later). We went to the beach in La Jolla.
But a definite highlight of the trip was the day we sailed out to go whale watching. And please if you go to San Diego, you should definitely go out with these guys: https://nextlevelsailing.com/
They were great. The sailboat was incredibly beautiful. Seeing the whales was amazing. The whole day was indescribably wonderful.
I was fascinated and watched closely as the crew lifted the sails. (Maybe I could write off the cost of the trip as research. After all my main character in The Lies We Tell–which goes live in the next two or three weeks–must sail a boat for a short distance along the Southern English coast). Her sailboat is much smaller of course, but I got a taste of what she would see and hear and feel. I loved the whip and crack of the wind in the sails, the rolling and rocking of the deck as the waves beat against the hull. And the sky and the sea were breathtakingly expansive, in a way I don’t think you could ever get on land.
It did make me wonder, as we watched a rare Sunfish breach and the dolphins race along with us, and of course as the two blue whales crested and fluked, what would my characters see in the English channel. Since coming home I’ve looked into it a little. I’ve included many of the birds and animals along the coast. But in the sea, my heroine might see dolphins and porpoises. A Minke whale sighting is not uncommon in the English channel.
Now, Amelia doesn’t go far from the coast, but Sidonie, the main character in The Masks We Wear (Book three of the Illusions series, coming this fall) will be secretly crossing the channel into Napoleonic France. Maybe in the quiet of her night’s crossing, she should see a whale. After my birthday adventure, I’m inclined to give her that awe-inspiring experience.
I’d love to hear your experiences on the ocean. Or if you experience vicariously, what books have you read that have a good sailing scene in them?
First or third person? Which is your preference when you’re reading? Historically, I have preferred books written in third person (example: she watched the lapwing take flight). But in my first series, the Illusions series, every book is written in first person (example: I took a deep breath and lifted the pistol). It was a difficult style for me to write, so why did I do that to myself?
I must say here that there are books that are written in first person that I really like. I’ll give some examples, but note that these are not all regency romances. The Hunger Games series is in first person, as is Rebecca by Daphne DuMarier. Patricia Briggs’ Mercy Thompson series, beginning with Moon Called (I like the first ten books better than the latest ones) is told in Mercy’s voice. Probably my favorite of Joan Wolf’s regency novels, Fool’s Masquerade, is written in first person. And the very talented Thomas and Sharon Curtis, writing as Laura London, wrote A Heart Too Proud in first person. I really like all of these books. But mostly I read books that are written in third person.
I started The Secrets We Keep, book one of the Illusions series, when the first line, “Let me say in my defense, that I had good reason for every lie I told and every truth I withheld,” came out of nowhere. I just liked it and put it down on paper. I had no clear idea where I was going, but that line just sparked my imagination. What if a girl in Regency England found herself unintentionally, at least at first, caught in a web of deceit? What if in her attempts to find the truth, she worked herself deeper and deeper into those secrets and lies.
And I was off. Liza’s story in The Secrets We Keep changed and developed over time, often surprising me, but it remained in first person. Liza just wanted the reader to see her life through her eyes and hear in her voice.
One of the challenges of writing in first person is that you can only move action along through the viewpoint of the character who is the voice. If you want to show that one of the other characters is angry or hiding something, it has to come through what the main character sees. It took some time for me to get into the habit of seeing only through the eyes of Liza. It was a steep learning curve.
As we were readying Secrets for publication, I read somewhere that a good way to introduce new readers to your work is to write a “book magnet.” A magnet is a shorter work, usually a short story, that you practically give away. I took a little break from Book 2 and started writing a short story, although apparently Maris didn’t want her story to be that short. Smoke and Shadows became a novella. But it felt right to continue in the first person, to be inside Maris’ mind as she and her brother’s best friend try to catch an arsonist, and discover their own fire. Maris has a very different mind and voice than Liza’s, which is also a challenge–to find the individual speech and thought patterns of your character.
I will be putting The Lies We Tell, the second novel in the Illusions series up for pre-order in the next week or two after final editing. Amelia is more conventional than either Liza or Maris. She has always observed the proprieties. But as she tries to shield her father from the consequences of her brother’s depravity, she enters a world of lies and danger and finds herself doing things she never imagined. (FYI: you met her brother in the first novel). Again I wrote in first person, and again with a totally different personality and voice than the two earlier works.
Finally, sometime this fall, I’ll release The Masks We Wear, the third and final novel in the Illusions series. Sidonie not only is different in nature from the other three main characters, she is also French. In first person. I guess I must like a challenge.
The funny thing is, after writing this series in first person, I’m a little nervous to begin the next series that is percolating on the back burners of my mind. I do believe I will be writing them in third person. I think I will face a whole different set of challenges. You would think those decisions are all up to me, that the voice is my choice. After all, I’m creating these characters, right? Surprise. It’s not really me. I find that the character makes her own demands. And the writer must follow.
More than a year ago, two of our sons started a discussion about singer-songwriters. Nathan believes Stevie Wonder is the best. Jordan doesn’t agree. He cited Bob Dylan and James Taylor, and all folk/country artists as contenders.
1967 Nationaal Archief
In defense, Nate quoted Elton John and Bob Dylan, talking about Stevie Wonder, crediting him with changing music for all time. Our “Stevie Wonder supporters” said that in “centuries to come” people will talk about Louis Armstrong, Duke Ellington, Ray Charles and Stevie Wonder.
1963 USIA
The discussion has spread over the year. We had a recent extended family What’sApp exchange where Trevor joined the discussion as another Stevie Wonder advocate. Jordan added Paul Simon and The Beach Boys to his list. And then he pulled out the Dolly Parton argument (She has written 3000 songs, released 956 of them, 25 of them #1 songs).
Brendan joined the discussion, supporting Jordan. “He (Stevie) is fine, but he’s no Mozart.” Natalie lightened the tone of the discussion by suggesting we should consider Justin Beiber (with special reference to these lyrics: Baby, baby, baby, oh).
Trevor made a spreadsheet comparing Stevie, Dolly, Bob Dylan, James Taylor, and Paul McCartney. (Yes. He made a spreadsheet). And Nate said this (and I’m so proud of his use of descriptive language), “Stevie Wonder’s albums . . . are just an inimitable artistic achievement. It’s the Sistine chapel of American popular music.”
At Sunday dinner this week, Devon joined the discussion, also as a Stevie Wonder fan, and we spent the final hour or so of our time together listening to some of his music. (Jordan wasn’t present, so no one complained).
I’m not a musician, but I do believe lyricists are today’s poets, and when they write well, it’s an unparalleled delight. As a budding writer, I am in awe at the power and beauty of well-written lyrics. So I’m enjoying the conversation, and the passion behind it.
And I’m interested. What does your family discuss–over extended time and with real fervor?
And a last question (okay 2 questions), who is your favorite lyricist? And what is your vote for the best song lyrics? Those lyrics that just speak beauty/power to you?
Movies have a voluntary rating system. Books, not so much. We may argue about the way the movie rating scale has changed over time or the usefulness of the MPA’s system, but the ratings provide at least a starting point when choosing what we’ll watch.
Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.
In romance novels, there is a binary, perhaps ternary, system. There are clean or sweet novels and stories (read this as no sex on the page). There are steamy works (read that as sex included and described). And some might include erotica in the genre. (I could argue it belongs somewhere else, depending on your definition of romance, but that’s a discussion for another day). Today we’ll call it three categories, but in each sub-genre, there are endless variations and gradations of the expression of attraction, relationship, romance, and love. Note: Later, I might also need to include the measurement of violence, swearing, use of alcohol, etc. in my rating system. Today, I’m just discussing sensuality.
As a new author of clean/sweet regency romances, I want to create a more nuanced, helpful assessment in my sub-genre for those who read clean romance fiction. I could call it the clean romance affection continuum (CRAC)? Or maybe the sweet romance ardor scale (SRAS)? The physical affection rating system (PARS)? The romance heat spectrum (RHS)? Kissing Quotient (KQ)?
Whatever I call it, my scale would let a reader know how much physical intimacy, as part of the growth of the relationship, they can expect to be present before they pick up a novel, novella, or short story so they can make an informed decision. Join me in a little (and little longer) discussion about “heat” in a clean romantic work.
I’m thinking a 0-10 continuum line, with 0 being absolutely no physical interaction beyond what courtesy demands. There would be no interior dialogue or narrator insertions about attractiveness or physical reaction to the romantic interest. None of the characters’ feelings of attraction or behaviors acting on such would be included. Dialogue between characters would have no overt examples of anything more than a high-minded regard. In a novel or story on the zero end of the line, any warmth would have to be created in the reader’s mind. I call this zero on the scale because I’m not sure it really would qualify as romance, per se. I can think of no examples here because I’m pretty sure I would put such a novel down without finishing it.
At 10 would be a story where, (remember I’m only including novels that fall into the clean/sweet category), there is no sex on the page, but sex might be implied. There might be some descriptions of kissing, even arousal. These descriptions might even be frequent and detailed–a major part of the building of the relationship.
Somewhere in between 1-3, I would place Jane Austin’s novels. (No one does it better than Jane Austin). Though, Austen doesn’t write descriptions of physical interactions between her main characters, the attraction and sexual tension is palpable. The growth of the romance is carried by looks and witty exchanges between the eventual lovers. Hints, and sometimes outright commentary, by minor characters show the growing attraction (Bingley’s sister’s jealous/mocking comments, Maryanne’s family and friends’ concern, etc.). Additionally, the undercurrent of sexuality in society is revealed, especially in the lives and choices of minor characters, ie. Georgina’s innocent and Lydia’s heedless tumble into the clutches of the depraved Wickham or Mr. William Elliot’s final attachment of Mrs. Clay, etc.
At the 2-5 range, I might place the novels of Georgette Heyer. She has the long looks and the heated exchanges and the witty repartee. We love it! However, Georgette Heyer adds a physical element. Her characters are described in terms of physicality and attraction. And almost all kiss at the end, sometimes twice! The range is also wider because some of her novels are thematically more sexual in nature, think Venetia or even Devil’s Cub.
Many contemporary authors’ works would fall in the 4-8 range. I think most of us want to write books that appeal to readers who don’t want to be the fly on the wall of the characters’ bedrooms. At the same time, we (I) want to appeal to a modern audience that expects that part of romance, as we know it, includes thoughts of awareness and attraction, and the growth of those feelings, side by side with a growth of emotional intimacy.
This is true of my Regency romance novels (and novella). I find it difficult to write the growth of a romantic relationship without the interwoven growth of physical awareness. On the one hand, I would love to have the subtlety and skill of Austen or Heyer. On the other hand, I live in this time. I enjoy a little more overt awareness. I like to see the growth of attraction. I think it’s a sweet part of the process of falling in love to tremble at a touch, to sigh, to desire. And yes, to kiss. (I would like to see appreciation for the small, nuanced steps of physical intimacy restored into our modern views of romance–but that’s another post for another day).
In my Illusions series novella, Philip and Maris discover their attraction and want to explore it, even though her brother keeps interrupting. So, add an element of frustration.
While I may not be so subtle as Jane Austen or Georgette Heyer, I try not to beat my readers with inappropriate (for clean/sweet romance) sensuality. So, my characters are aware of each other physically. They contemplate, may even question this attraction. In the first novel in my Illusions series, Robert and Liza both have secrets and questions and doubts. But they do kiss. More than once.
After years of reading clean/sweet romances, many of them regency/historical romances, I have found that what I love to read spans a good portion of my, still to be named, scale. And that has informed and guided my writing.
How about you? What level of sensuality are you comfortable with in your clean/sweet romance novels and stories? You can use my new rating system if you want. (And feel free to use examples).
I type this as I sit on my couch, in my pajamas and with my hair scooped up in a messy bunch (I can’t even call it a bun–that would suggest a style). I am doing one more run through my novella, Smoke and Shadows, before I send it to the editor and load it to Amazon (for free) sometime in the next week or so. I’m comfortable and I’m being productive. This is good, right?
Warning! This is real.
But I’m a little nervous that someone will come to the door. I’m deep in my regency world–Who’s starting those fires, and when did Philip become so attractive?–and then suddenly the thought sneaks in, “I really should go get dressed and do my hair. Or maybe I should even put some makeup on. I just know someone is going to come to the door.” You may think that’s not such a big deal, but this is the beginning of a very serious, slippery slope. I may notice as I do my hair that I should start some laundry, and why don’t I just organize my closet while I’m here? And why do I still have this skirt? These thoughts are not conducive to writing.
And then I write in my story about the morning call my character receives. Regency families scheduled one or two days a week where they were “home to callers.” From say 11:00 in the morning until maybe two or three, a lady (or gentleman/family) accepted visits from her neighbors and those who wanted to make or further her acquaintance. This assumed that she wanted to visit with the person who sent in their card (name, direction, read this as address). If she didn’t feel comfortable making or furthering an acquaintance, her servant could tell the “caller” that she was not “at home to visitors.”
birmingham-museums-trust-TocYv7GqiDs-unsplash.jpg
When a caller was invited in, the rules of the visit were set. It should be at least fifteen minutes, but no longer than thirty. There were accepted topics of conversation, and everyone knew what they were–avoid talking about things that are too personal, no gossiping. and be pleasant.
Of course it wouldn’t work for me. First–no servant. Second–I am not so organized that I would feel comfortable saying, as an example, every Wednesday from 11-2, I will be home to callers. What if things are really going well with the writing? I don’t want to see people then. What if one of my children or a neighbor calls and I need to be with them? What if I just don’t want to change out of my pajamas? (see scary picture above). Third–I’m not a formal person. I like to visit. (I tend to prefer to visit with one or a few, rather than attend a party of many people), but when I’m getting to know someone or spending time with a friend, I can’t imagine limiting a visit to half an hour. How can you really get to know someone or continue to build a relationship in half-hour increments? (And sometimes I get personal).
No.I’ll just have to discipline myself to sit here on this couch in my pajamas, bad hair, no make-up state and write/edit. And hope everyone is “calling” on someone else this afternoon.
For more than a year I’ve been writing and editing this first book in my Illusions Series. During the beta reading and editing of this first book, I wrote the second. And then I read somewhere that it is a good idea to have a “book magnet”–a smaller work that you give for free. So, I took some time out and wrote a novella. I also began the third book. (This means there are four books in this series, three full length, one novella. My goal is to have all four up before the end of the year.)
Finally it’s time to begin to publish them. My husband spent the last month, between his own word, to format the first–The Secrets We Keep, and we uploaded it to Amazon this weekend. I was so excited! I announced it on my Insta. I put it up on my family What’sApp, my neighborhood Group Me. My family shared on their timelines. And then (my order of activity was not wise), I downloaded my own book.
Horror, of horrors, the digital format was all messed up. Amazon’s KDP is very user friendly in some ways, and just not clear enough in others. We had to have them take down the digital version, and we had to resubmit it. (At least the paperback is right). But that meant I had to go back and announce, “oops, don’t buy that yet. Or if you did, cancel and rebuy when it comes back up.”
This is not the published author first impression I wanted to send. I had a few moments of panic, and then I wanted to curl up in fetal position. Then we went to work.
I tell myself that in a day or two everything will be as it should. I tell myself that only a few bought the digital version before I could notify them of the problem. (So sorry friends for the inconvenience). I tell myself that by the time the next book (the Novella, Smoke and Shadows) is up–later this week– no one will remember this little hiccup at the beginning of my publishing career. I hope all of those things are true, but it was still a blow for me.
Many, if not most, authors pay someone else to take the finished work and babysit it through the publishing process, but there are those of us who must DIY it. We will make mistakes. We will read all the other DIYer’s accounts and try to learn from them, but we will have to experience our own learning curve. Are you interested in the process? If so, I will share, in a brutally honest way what we experience–good and bad. Maybe this will be the help that another new author needs so her/his opening doesn’t have to be soft.
We learned this:
KDP wants the paperback version in a pdf. The cover has to be in EPub. (We did this).
Even though KDP says for the digital version, you can upload html or EPub (which we did), what they really require is a Word file for the body and a Jpeg for the cover.
In my mind, there is an ideal family meal. The details aren’t detailed and clear, but I always hope a nice family meal will build or strengthen or heal–that during our time together, our conversation will bring us closer. Is it the same for you? Do you plan, shop, and cook with the hopes that something truly special and memorable will happen when everyone sits down to eat? Does it, at least sometimes, happen for you?
I’ve been thinking about family meals, mine and the ideal (which are not always the same). I’ve been thinking, not just about Thanksgiving, but everyday meals too. It’s on my mind because we are in Texas this Thanksgiving, helping our son and his family move. I don’t know yet what we’ll do for that important meal, but I’m excited to spend it with this family that we will see less often–and have around our table less often, now that they will be living at such distance.
But our indefinite plans for Thanksgiving made me think about family meals, why they are important to me and what I always hope happens at our family meals. And that made me remember some movie family meal scenes that I love. And for some reason, I do love a good family meal scene.
I’ll share a few examples. In “While You Were Sleeping” Peter’s family gathers for a ‘late’ Christmas dinner. The cross talk, the family shorthand, the teasing, good-natured arguing, prying–the love–it’s all there. I love it. “These potatoes are so creamy . . . Mary mashed them.” And “Would you want to see Dustin Hoffman save the Alamo?” No one is really listening to each other, but the important things get communicated.
Another meal scene I think is a masterpiece is the breakfast scene at the end of “Moonstruck.” In fact, I watch the whole movie and then I rewind and watch the breakfast scene again. I love the moments when no one is speaking, but everyone is looking at each other. Their looks say it all. “What is going on? Can you believe this? What now? Does he/she know? Secrets, betrayal, accusation, forgiveness, broken engagement, proposal, but most of all love.
My appreciation for these scenes is a paradox. I love them because they feel familiar and real, and I love them because they are not like anything I’ve experienced, and they are hilarious. I know a screenwriter wrote those scenes, a director and the actors interpreted. Someone lit them; someone filmed, and many more people had a part in the creation of those few moments that invite us into the intimacy of someone else’s family meal.
I’d like to have y’all come and share a family meal with me. Impossible I know, but I would love it. And I’d love a family meal scene in more books that I read. Is it possible to write one that captures the idiosyncrasies and rhythms and unique language of a family? Have you read a book with an engaging family meal scene? If you have, I want the title/author. And I’d love to read your experience around your table.
This week in our book group, I led the discussion on The Power of Moments, by Chip and Dan Heath. Now, as a student, and lover, and writer of fiction, I usually limit how many non-fiction and self-help books I will read in any given year. Some people are the opposite. They feel that unless a book is “true,” they are wasting their time reading it. Maybe I’ll write another post on another day about what I believe are the differences between factual and true, but for today, I’ll just say I have found some of the greatest, realest truths in well-written fiction. As Stephen King says, “Fiction is the truth inside the lie.” So, I will continue to choose to read fiction most of the time. Except, this year:
The Power of Moments: Why Certain Experiences Have Extraordinary Impact by Chip Heath and Dan Heath Image from Amazon Books
The Power of Moments is not fiction, but it landed in my lap, so to speak, and so I started it, fully expecting to put it down before long. Honestly, that’s what I thought, but I found it very readable, entertaining, thought-provoking, at times even inspiring. More than that, it caused me to make some changes in my life. I’m not sure you could say anything better about a book.
A brief synopsis: The Heath brothers explore the moments in our lives that are memorable. –An aside: Most of those really memorable moment happen when we’re young–but while so many of our experiences when we are young are about growth and change, that doesn’t mean we can’t have powerful moments as we grow older– They break down what makes a moment memorable, and at times life changing. These are the elements that singly or combined will make a moment stand out: Elevation, Insight, Pride, Connection. The authors have some wonderful examples that illustrate each of these elements. They go on to suggest, and show, how we might create more powerful moments in our lives and the lives of those we work with and for, and those we love.
One of the changes I made was to step up, and take more seriously, my writing. I had a moment when I turned fifty. (Not every moment is a happy high point. Some are a sudden realization that you are not happy where you are and need to change). I decided I was running out of time if I really did want to write. So I started and stopped, started and stopped. And then I read this book and got serious. I now write, (or edit) at least a little, every day.
Screenshot of the beginning of Chapter 1 of The Secrets We Keep
Taking a break from work at the cabin.
Another was to try to create and provide some memorable, unifying moments for my children and grandchildren,
Look at that face. Rhyat is having a moment.
To record and learn from some precious memories,
What a wonderful week with our Alberta, Canada missionaries.
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And to reconnect with old friends.
So, I’ve been thinking about powerful moments. Moments that were different/special and elevated from the normal, moments where I had a sudden insight–and make a change because of it, moments where I felt a sense of pride in accomplishment and celebrated growth, or moments of deep connection.
What are the powerful moments in your past? Who did you share them with? Are you still trying to create powerful moments? Who will you share these with?
I may have mentioned that friends of ours offered to sell us their cabin. If I were to use an euphemism, I’d call it a fixer-upper. And that is what we have spent a lot of time doing this summer–fixing up our cabin.
We are in process of building/replacing the decks.
It’s a sweet little cabin in a fabulously beautiful area. I love it.
But it is a lot, I repeat, a lot of work. When we got it, there were no footings or foundation under half the cabin. Our friend had decided to dig out under the cabin and create a basement space, and the cabin was sitting on screw jacks (think stilts). That was our first order of business–to get the building on a foundation and get it weather tight before winter. We bought in July and worked all summer/fall on it.
So this last weekend, we installed French doors in the now enclosed basement. And I had a sudden writing/personality insight. Sometimes that happens late at night. I thought I’d tell you what I learned.
Friday night after regular work, we changed into construction clothes and began to physically work. French doors are harder to install than a single door, and my Mister had to build a frame for the doorway. We measured and measured again, cut and nailed the frame together. We lifted it into place. Then we took it down and measured and cut again. Then when the doors were installed and level, we found they didn’t meet equally at the top and bottom. This was a longer process than we’d anticipated, and it was getting late, and it was getting cold. (The altitude at the cabin is 8500 feet. It can get really cold).
So, I was tired, freezing, and frustrated, and I thought, “There is a point of diminishing returns. We are just hitting our heads against a brick wall. We should stop now. We should go in and get warm and get a good night sleep. We could let this problem percolate, and the solution will come to us. We’ll begin again in the morning when we are fresh. Everything will go smoother.” That’s what I thought.
But Mister Watson can’t, literally can’t leave a project half finished. It’s that Idaho farm boy mentality. Once he begins something, he’s going to muscle through, no matter how difficult, how frustrating, how late, how cold. He may snarl and grip, but he will finish that work! Well as you can see, he did finish it. It was late, but he slept in peace.
Now one of us is much, much more productive in life. And one of us is much more relaxed and easy going. Guess which is which.
I will say that mostly I am content with my personality. I don’t experience much stress or anxiety. I am happy most of the time. But I think in my writing I should work a little more to follow my husband’s example. I often write myself into a little brick wall. I think, “I’ve been sitting here staring at this screen for long enough. This is hard, and I am tired. If I just quit today and let the problem percolate a little, maybe the solution will come to me. Sometimes “percolating” lasts longer than one day. And I end up writing in fits and starts.
But every writer knows, at least theoretically, that the first draft just needs to be written. I know I just need to push through and write something. It’s okay if it’s garbage. That’s why we edit–and you can’t edit a blank page (and a dozen other quotes). I know I need to set that daily writing goal and keep writing until I reach the finish line, even when I’m hitting my head against that brick wall. In writing I need to be an Idaho farm girl and just refuse to stop until the job (daily goal) is accomplished.
French doors and late night insights at the cabin.
Which are you? Do you take a break and come back fresh? or Do you muscle through and get it done? And if you do that, do you have any tips for those of us who are trying to change our writing personality?
Ghosts? Ghouls? Witches? Demons? Scary movies? Candy and more candy? Does that sound fun to you?
How about orange, black, purple and neon green? That’s enough to give anyone nightmares, although I suppose that’s the point.
In case you haven’t guessed yet, I’ve never been a fan of this particular holiday.
Along with the above mentioned highlights of the season, there is what for me was always a mad scramble to make costumes for my multitude of children. And my children never wanted to be a ghost or a witch. Some of the random, unique costumes in our family history include: Paul Bunyon (we were reading a book), Mona Lisa (complete with frame), a toilet (candy went into the bowl), and as weird as it sounds, Ghengis Khan. I’m pretty sure our neighbors didn’t always recognize what they were seeing.
We used what we had and needed a lot of creativity. Okay, looking back I kind of liked this part of Halloween. We made some good family memories creating our children’s vision from what we had around the house. However, I do remember being especially frustrated because the day before Halloween, the weather would turn, and the costumes would be covered with coats.
One year I made the mistake of sewing a Legolas costume for our youngest son, who was six at the time. You must understand that we are one of those zealous Lord of the Rings fan families. We are passionate about the book and the movie, and I got a little carried away. I researched costumes from the movies and tried to be as authentic as my limited funds and time would allow, even down to sewing the leaf motif on the hem of the tunic. Mr. Watson even got into the spirit and made two wood swords and helped me with the bow, arrows and quiver.
Ever after, this particular son thought this detailed and accurate kind of costume was the norm. One year he wanted to be a War of 1812 soldier. I ask you, War of 1812? (which by the way falls right in the Regency period, which is where I’m spending a lot of time these days, but I don’t want to make the clothes. I’ll just mention details from time to time in my books). Poor disappointed Devon. He had to be a WWI bomber pilot that year because someone gave us a leather jacket.
So, if you ask I will probably tell you that this is my least favorite holiday, but while I write I realize that I do like the costumes, the drama, and the imagination of Halloween. I like the misty, brooding, atmospheric mystery of the season.
I like some of the literature that comes to mind–notably Frankenstein and the poetry of Edgar Allen Poe. I even binge watched Stranger Things. And this year I’m loving these fabulous eerie photos taken by our very gifted photographer daughter @cheznousimages
Okay, maybe I do like some aspects of Halloween. Just not the candy, more candy, and the colors.
Parents are urged to be cautious. Some material may be inappropriate for pre-teenagers.
