Book Two of the Illusions series went live this week!
I’ve become so fond of Amelia over the last few months. I’m hoping you will enjoy getting to know her and her bold, brash Mr. Jones as they break some rules, get into some trouble, and discover each other and the answers to some important questions.
Mad King George III was deemed unfit to rule Britain in 1811, and his son took over as prince regent. Then when George III died in 1820, the regent became King George IV. So technically, the Regency only lasted nine years.
Culturally, however, what we consider the Regency Era spans a longer time period, from about 1795 during the French Revolution (in my mind I see images of that horrifying guillotine) to 1837, when Queen Victoria took the throne. The Regency was more than a change in royalty. It marked the end of the Georgian’s more pious, reserved society. The Prince Regent, being so very different from his father, was kept entirely removed from politics and the military. He channeled his energy into other pursuits, and it showed.
This period saw huge changes in politics, societal structure, and science–this was the beginning of the industrial revolution–but also huge changes in culture, architecture, art, literature, and fashions (the hooped skirts and powdered hair of the Georgian age gave way to the ‘classical’ high waisted dresses of the Regency). In many ways it was a period of cultural refinement, elegance and extravagance—a frivolous and ostentatious age.
And opposite the excesses of the rich was a horrible, crushing poverty and squalor. Gambling, drinking, thievery, and prostitution were rampant in the rookeries of London.
To give you some idea of what was happening, here are some Regency events:
Some names you might recognize:
Though the cultural/social restrictions for women were still very real, during the regency women began to challenge old preconceptions and conventional thinking. It’s part of what makes Jane Austen so current even today. Change was everywhere. Exciting things happen in those in-between times. It sparks my imagination and gives me some latitude when creating my brave, strong female characters.
Join me for a little time in the Regency Era! I believe you will love it.
In every romance novel, the overarching theme is ‘Love Conquers All.’ Do you believe this statement? What are some ways you have seen this theme played out in real life? In interpersonal relationships? In parenting? Societal challenges? In questions of the soul?
In The Secrets We Keep, are there other underlying themes, unique to Liza’s story? What are they?
At the Beginning of the novel, Liza claims she has good reason for her secrets and lies. She claims the same thing at the end. Are her reasons different at the end than at the beginning. How?
Is she right either time? Does she have good reason? Are lies ever acceptable? What might constitute good reasons for lies? Are they ever acceptable?
What makes Liza begin to distrust Robert? What effects does her lack of trust have on their relationship?
Even though Liza believes Robert is doing despicable things, she loves him. Have you ever been in this situation? How does she show her love? How do you show love for someone who is doing something you believe is wrong/harmful?
Liza is a very instinctive person. She doesn’t always look ahead and weigh the consequences of her actions. What are the strengths in an instinctive personality? What are the weaknesses?
When is Liza bravest? When she faces her enemy and danger? Or in some of her personal, private decision?
Liza spends some time “walking in other’s shoes,” or in this case wearing others clothes. Does that change her insights into those others’ lives? How? How do you “wear other’s clothes” in our day?
How does ‘Love Conquer All’ for Liza and Robert?
On our recent mother/daughter get away to San Diego, we visited the island of Coronado and, of course, the Hotel Del Coronado. The night before, in preparation, we re-watched Some Like It Hot, that classic (1959) Marilyn Monroe, Tony Curtis and Jack Lemmon movie that was filmed at this hotel. The movie is a long-time family favorite. If you haven’t seen it, I highly recommend you find it and settle in for some good laughs.
The film is about two musicians who witness a massacre–based on the Valentine’s Day Massacre–and hide in drag in an all girls band to avoid being killed by the mob.
A little friendly warning. Many of the jokes are sexual in nature, though I’ve always thought they were mostly good-natured, some slapstick, and all fun rather than dirty. And I’ll also mention in this warning Marilyn Monroe’s costumes that do highlight her lush figure. That said, this movie is a classic for a reason. It is hilarious!
Along with the laughs, I love this about Some Like It Hot: all through the movie, Sugar thinks that she just wants money and Joe thinks all he wants is sex. And then they both are delightfully surprised to find that they have grown to want only each other. Once again that “Love Conquers All” theme–this time it conquers even these characters’ worst intentions.
Back to the hotel. After watching the movie, we had to walk around the hotel until we found the porch where the “millionaires” sat in rocking chairs. These were as Jerry calls them, “rich millionaires,” which makes us laugh every time. I mean, what other kind of millionaires are there? You’ll have to watch the movie to see.
What “Love Conquers All” movies do you love?
And when next you’re in San Diego, cross the bridge and walk around the Hotel Del Coronado and drink in the romance of the spot.
Always family! But for us, July has become a month of increased family togetherness. This means food and talk and a hundred, okay up to 23, kids running around.
We celebrate our country’s birth with games, fireworks, and more food.
And for most of the month, I will only write in small pockets of time when things are quiet, or I can sit in a corner (often in the middle of confusion) and ignore the present world and go to Regency England in my mind. The last novel in my Illusions series will inch along through the month of July, but I’ll enjoy my family.
I wish you a happy fourth of July! I hope you’re with people you love, in a comfortable place, with good food to eat.
For my birthday, my daughter thought we should go to San Diego.
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.
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.
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?
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.”
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.
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