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Author Archives: Diane Gaston

About Diane Gaston

Diane Gaston is the RITA award-winning author of Historical Romance for Harlequin Historical and Mills and Boon, with books that feature the darker side of the Regency. Formerly a mental health social worker, she is happiest now when deep in the psyches of soldiers, rakes and women who don’t always act like ladies.

This quote from E.L. Doctorow seemed appropriate. I’m into my final week of revising my next book, which now has an early release date of early 2010.

Oddly enough my editor never mentioned a word about adjectives and adverbs. I kinda like adjectives and adverbs, and I’ve never had an editor, reviewer or reader complain about my use of them.

Revising has me thinking about–revising. How do we go about it, whether it be at our editor’s request or our own polishing of a finished manuscript?

Here’s how I do it.

First, I fix the easy things. These are often:

Repeated Words – I used “flamed” an awful lot and this story is not about fire.
Spelling and Grammar mistakes – although I often find these as I read through the manuscript
Factual Errors – mixing up names, mixing up dates, historical errors (my English editors are good at catching historical errors)

Then I really just plod through the manuscript, starting at page one.

Here are things that often need fixing in my manuscript:

Character – one or more characters need tweaking, for example, in this book, my hero needed to show his strength sooner; my heroine needed to be not so jaded; my villain needed to be more villanous.
Story threads – some work but some don’t. I sometimes have to delete whole scenes that involve a story thread that isn’t working and add scenes from elements of the story that I didn’t focus on enough.
Telling vs Showing – we all have a tendency to explain our stories rather than to use words that show what the POV character is experiencing. I always find places in the ms where I’ve done this.
Awkward phrases – Some of those word gems I thought were so clever just don’t work when reading with a critical mind-set.
Dialogue tags – how many “he saids” and “she saids” can I eliminate by inserting some action or thought instead?

I have done a little skipping around during this revision process. I’ve needed to add or change some scenes, so I’m constantly going back and forth to be sure I’m not adding more inconsistencies. (Do you ever find that you can’t remember what you wrote before or what comes next?)

My friend MJ Frederick (whose Samhain book Hot Shot is available in paperback this month) told me about a book, Revision and Self-Editing by James Scott Bell. Naturally I had to buy it.

The Bell book looks very good! Take a look at the Table of Contents including that great 34 page checklist!
Trouble is, I don’t have time to make the best use of it.

How do you go about revising? Are you systematic? Or do you just plod through, starting with page one? Any good tips out there? (Before it is too late?)

Diane’s website has been updated. Take a look! Diane’s contest ends Feb 10. Hurry and enter to win one of her backlist books.

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Many thanks to the Riskies, hostesses of one of my favorite destinations in the blogosphere, for inviting me as a guest during Elena’s leave of absence. And my best wishes to Elena and her family for her husband’s speedy recovery!

From the time I began reading Georgette Heyer, who made frequent reference to the serving of brandy on which no duty had been paid, I’ve had an interest in smugglers. Even more so than the highwayman, the free trader was a romantic figure who received a great deal of popular support from coastal residents, both the customers who bought at a cheaper price the goods they wanted and the workers who augmented their meager incomes as farmers, fishermen and laborers by assisting the smugglers in transporting their cargo.

Though Samuel Johnson described a smuggler as “A wretch who, in defiance of the law, imports or exports goods either contraband or without payment of the customs,” many would prefer the definition of Adam Smith—himself a Customs commissioner: “A person who, though no doubt highly blamable for violating the laws of his country, is frequently incapable of violating these of natural justice and who would have been in every respect an excellent citizen had not the laws of his country made that a crime which nature never meant to be so.”

Since the reign of Edward I in the mid-1200’s, when English wool was bought by French weavers who then made cloth that sold for lower prices than the English goods, the English government has tried to restrict trade. From the “owlers” of Kent and Sussex who smuggled English wool out of the country by “owl light,” to the “gentlemen” of the Regency, who dealt in tea, tobacco, spirits and luxury goods, traders sought to buy goods at origin and resell for a fair price, eliminating the taxes imposed by the government middleman.

Understandably not wishing to lose out on its share of the sale of sought-after goods, as early as 1698, the government established the Landguard of riding officers of the Customs, whose job it was to try to halt the illegal trade. Originally, each riding officer was assigned about 10 miles of coastline to patrol. He was also responsible for checking ships landing cargo in his district, searching inland places he suspected might be harboring contraband goods and gathering intelligence.

However, the profits to be made were high enough—and collusion with local officials so frequent—that it soon became evident that riding officers alone were not adequate to stem the flow of illegal goods. In 1723, the government began posting units of dragoons at points around the coast, who could be called out by the riding officers to assist in rounding up smugglers or their cargos.

Despite a spate of anti-smuggling laws throughout the 1700s that imposed ever more severe penalties on smuggling, the practice continued. In fact, by 1780 it was estimated that two-thirds of the tea consumed in England had not passed through Customs.


For moving their cargo, free traders used luggers, ships that were broad of beam, shallow of keel with a flat bottom that allowed the vessel to put in close to shore, and rigged with a lugsail that allowed them to sail close to the wind. Later, cutters that could make higher speed were preferred, and galleys, which combined sails and rowing seats for navigating in shallow water or narrow spaces.

Once the daring captain sailed his cargo across from France or Ireland, where did he land it? As you can see from the photos, Cornwall’s many coves and inlets and its limestone cliffs riddled with caves made the area an ideal spot for smugglers. In addition to its natural advantages, supportive locals expanded the concealment possibilities of the caves by offering barns and granaries as short-term storehouses for smuggled goods. There are reports of tunnels dug from the coastline up into inns, private homes–and even churches! In some instances, church towers were elevated to a height sufficient to allow them to serve as navigation aids for smugglers trying to locate a particular landing spot for their cargo.

A successful operation began with the “venturer,” who through his agent, the “bagman,” collected the sum necessary to purchase the goods to be smuggled. The bagman, whose accounts were kept by the “quill-driver,” often the parish clerk or schoolmaster, would collect the sums pledged, then meet the captain of the smuggling vessel to sail for the Continent. After exchanging his coins for the items requested by the shareholders, he would load the cargo and bring it back to England.

Once he’d determined by lantern-flash that it was safe to make for shore, the captain would turn his cargo over to a “lander,” whose responsibility was to summon, organize and pay the beach party that transferred the cargo from the ship to the waiting ponies and wagons to convey it inland.

Colorful stories and tales about smuggling and the smugglers abound. On one end of the spectrum, Isaac Gulliver, the “gentle smuggler” of Dorset who claimed never to have harmed a revenue officer during the course of his business, amassed a vast fortune smuggling tea, brandy and gin, bought property all over England and was highly revered by his fellow citizens. At the other end, the notorious Hawkhurst Gang in Kent was not above using murder, beatings and coercion to induce the cooperation of the local populace.

Already by the Regency, better enforcement and harsh penalties had begun to hamper the trade. But the practice was to continue unabated into the mid-1800s, not dying out entirely until tariffs were reduced to the point that the potential profits no longer outweighed the risks.
And so the era ended…but the romance, the legends, the stories and the lore continue to this day, when a visitor to Cornwall can still take a “Smuggler’s Tour.”

Okay, question: Do you think of smugglers as “romantic” figures, the Robin Hoods of the seas bringing fairly-priced goods to customers who want or need them? Or as mere law-breaking brigands? Should they be portrayed as heroes, villains…or both?

–See The Smuggling War: The Government’s Fight against Smuggling in the 18th and 19th Centuries by Geoffrey Morley.

PICTURE COMMENTARY
First: “Hidden among the bracket at Carn Brea, a smuggler’s cave.”
Second: “Zawn Trevilley near Land’s End: a narrow inlet perfect for leading to a smuggler’s trail.”
Third: “Sketch of Luggar”
Fourth: “St. Ives Parish Church—a smuggler’s storehouse?”
Fifth: “White Sands Bay near Sennen, Cornwall—with a smuggler’s hut in the left foreground?”

Julia is researching smugglers for a book to come out in 2010. For a glimpse of high seas revelry before then, check out Risky hostess Amanda McCabe’s High Seas Stowaway, a January Harlequin Historical release. For comments on the progress of Julia’s book, to view other research tidbits and oddities, or to enter Julia’s contest, visit her newly redesigned website, www.juliajustiss.com.

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I’m working on revisions for my next book, the first in my soldiers trilogy. Revisions always come with unique challenges and one of mine is to discover if my hero needed an invitation to visit The Green Room of Drury Lane Theatre.

“What” you are asking, “Does Drury Lane Theatre and the Green Room have to do with three soldiers?”
Nevermind…..you’ll find out later…when the book is out.

The Green Room is the backstage room in a theatre where the actors can lounge while not on stage and where certain people can visit after the performance. In Regency Romance we know it mainly as the place where gentlemen pick up actresses and ballet dancers. My question was–did gentlemen gain entrance to the Green Room by invitation or could anyone come in?

Here’s how I tackled finding the answer.

First I Googled “Green Room English Theatre”

I found out from this that the Green Room is not necessarily painted green and that there are all sorts of theories as to why it is called the Green Room. My favorite was, “Sitting in a totally green room before a performance, however, was believed to ward off the powers of this evil colour.” (ArtsAlove.com)

I googled around some more, adding “19th century” or “18th century” but I didn’t learn much more than the warding off evil thing.

My next strategy was to search in Google Books. Here I had more luck. This snippet came from The London Magazine, Jan Jun 1822
“…Not that I dislike Macready —but I never saw any picture so expressive as the fine countenance of Kean, when he is addressing you on dramatic subjects. Don’t you think so ? But oh I true—you never saw him in a room—you should go to the Green-Room with Tom, for he has the entre at all the houses—I wonder why they call it a Green-Room—for Tom says it is not green.”

The word entre gave me a clue that not just anyone could get in, but it wasn’t a very strong clue.

This from Life in London by Pierce Egan (and illustrated by Cruikshank):
“Where shall we go this evening?” said HAWTHORN to his Coz. “Apropos,” replied the CORINTHIAN, ” I have the offer of an introduction to the performers in the Green-Room of Drury-Lane Theatre.” “Excellent,” exclaimed JERRY; “it is DON GIOVANNI to-night, and the numerous characters that piece contains will afford us plenty of fun!”

Offer of an introduction….another clue.

I also looked at the links provided on the Beau Monde website, poked around in my research books, and even asked on the Beau Monde loop.

Then I had a really great idea.

I asked Cara.

Her reply:
” All I can say is that in the new 1811 Drury Lane, there were two (at least two) green rooms, both (if I read the diagram correctly) on the ground floor, which was either the same level as the stage, or one below. In “Mrs Jordan’s Profession,” about Drury Lane sometime in the 18th C, it says “at Drury Lane visits to the green room — the actors’ common room — could not be made merely at whim; special passes had to be agreed and provided by the management.” Then again, I have no idea if this later changed; also, my feeling is that in the “shared world” of Regency romances, one does not need a pass for the green room! (FWIW, in Gamester, I had the H&Hs younger brothers go to the green room during an interval…and surely they had no pass! Then again, one of them is wealthy and high-ranking, and the other sneaky, so I’m not sure it would have stopped them…)”

One of the members of the Beau Monde (the only one who answered my question) also thought that invitations were not required for the Green Room.

Sigh!

The way I see it, I still don’t have a strong, clear answer to my question. You’ll see how I solve this problem when the book is published! I still don’t know.

What do you think? Do I have enough evidence to keep my respectable soldier, but not a gentleman, out of the Green Room?

What do you do when you don’t have the answer to a research question and you have to get the book done?

Diane’s website is being updated today. Take a look! dianegaston.com
The theme for February on the Wet Noodle Posse Blog is Isn’t It Romantic? Come and see.

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No, this isn’t a post about the SAG Awards. I’ll leave that to Amanda, our resident fashionista, but I will say that the dresses were much better than the Golden Globes, except for Meryl Streep, whose daughter looks just like her but was better dressed. Angelina Jolie managed to look frumpy.

What I’m really blogging about is judging contests. This is Romance’s season of contests and lots of us will be judging contests, the RITAs (Romance Writers of America’s awards for published books), the Golden Heart (RWA’s unpublished manuscript contest), and RWA Chapter contests.

I’m judging the RITAs right now and just dipped into my first entry. I have seven books in a variety of categories, mostly Series romance, which I hardly ever read on my own. I decided to start with the ones I least wanted to read and, lo and behold, I really liked the first book I picked up.

Here are my personal criteria to judge The RITAs. This would work for the Golden Heart, too.

9 – I’d really like this enty to win
8 – I wouldn’t mind this entry winning
7 – This is very good, but it shouldn’t win
6 – This is above average
5 – This is competently written but it is just average
4 – This is below average; it has some problems
3 – This has even more problems
2 – This one is very flawed
1 – I can’t imagine scoring a 1 – it would have to be incoherent.

I start out with the premise that I’m picking up a winner, then tick off “points” if I discover problems or if the story ultimately disappoints me.

I also thought a bit about what it is that makes me like a book:

1. It makes me care about the characters. In this book, I didn’t like the hero much at first, but he did intrigue me and that was enough. He changed into a character I did like.

2. The characters feel like real people, not cliches. These characters were familiar “types” but the author succeeded in giving them a fresh look.

3. I want to keep reading. I didn’t want to put this book down.

4. Everything makes sense. The characters’ motivations, how they behave, what happens, all makes sense; nothing feels contrived. Nothing happens that makes me feel, “Naw. That ain’t right.”

5. The pacing seems right. Too often we speed up at the story’s end and it can feel rushed. This one did pretty good. This book strayed a teensy bit from my ideal. Not much though.

6. Nothing stops me and makes me have to go back to figure it out. In this case, I had to go back for one detail, but that was all.

This book will get high marks from me and it encourages me to read the next one on my list.

How about you? What makes a book or a contest entry a winner to you? What are your criteria? Even if you are primarily a reader, you know what makes a good book.

Contests have been very kind to me. I sold my first book entirely because of the Golden Heart and I won Romance’s highest award, the RITA the second time I entered for A Reputable Rake. (That’s me with the Mills & Boon editors in Atlanta, 2007)

What contests are you entering?

There is still time to enter my contest. And come visit the Wet Noodle Posse for more tips on how to be good to yourself.

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