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Category: Writing

Posts in which we talk about the writing craft and process

We’re delighted to have Amanda McCabe/Cormack/Laurel McKee pop in for a quick visit! Here’s her post.

         I’m so happy to be posting at the Riskies again today!  I miss being here regularly, though it’s fun to still be risky in an honorary way. 🙂  I’ve been very busy lately, having just finished a Regency Christmas story (The Wallflower’s Mistletoe Wedding, out in November!), working on a new 1920s mystery series, planning the next Elizabethan mystery, and plotting a new romance series set in Victorian Paris.  I feel like I need a Tardis to take me to every time period where I need to go right now!

I do enjoy getting to explore time periods, discovering how human nature hasn’t changed and never will, and the very different ways people in different times interpret and deal with that nature.  There’s always love, anger, greed, family, compassion, sacrifice, power, and it’s fascinating to think about how a person would wield those emotions in a world different from our own.  But I also see how all these time periods (Elizabethan, Regency, Victorian, and the 1920s) have something in common with the era we are living through right now—they were moments of vast and swift change in the way the world works and how people deal with those changes. 

The Elizabethans were exploring the globe in ways never seen before, as well as being ruled by a woman (!!), dealing with changes in religion and government, and seeing the explosion of the arts in a way never seen before or since.

The Regency was a bridge between the Enlightenment and revolution and the world of the Victorians, a moment of Whiggery and moral openess (at least among the upper classes!) and unpopular monarchies, while the Victorians saw the agrarian way of life that had gone on for centuries shift to cities and new jobs in industry (for better and also for much worse).  The railroads and telegraph systems opened the world to common people in a new way as well.  Oh, and there was also a woman on the throne again!  (A woman who projected a new image of domesticity and respectability, in contrast to her uncles, though she was not such a prude as all that in her real life…)

Right now, I am living in the 1920s, seeing the world through an artist of the period’s eyes.  Art was seeing major changes after the Armory Show, and women could now vote, drive cars, have jobs beyond nursing and teaching (or at least the possibility of such things, for the first time).  World War I had changed everything.

Of course, there are also fun parts of research, and one of those is finding silly slang to use.  For instance:

A silly person could be: “bacon-brained” (in the Regency) or “nerts” (in the 1920s)

Money could be: “blunt” (Regency) or “cake” (1920s)

A spirited woman could be: a “bearcat” (1920s), and “out and outer” (Regency), or “a filly” (Victorian)

Something pleasing is; “Berries!” (1920s), or (my favorite) “bang up to the elephant” (Victorian)

A wallflower could be “a cancelled stamp” (1920s), an engagement ring “handcuffs”

Nonsense could be: “Phonus balonus!” (1920s—I am using this one in real life now!) or “Fustian!” (Regency)

Of course, the best slang always has to do with being drunk.  Can you guess the time periods here”  “Half seas over,” “Ossified,” “Spiffilicated,” “A trifle disguised,” “Half-rats,” “In one’s cups”.  Being on a bender could be “On a toot,” “Top heavy,” or “Benjo.”

What are some of your favorite time periods???

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I know you understand the issues –I think all of us here tend to be research geeks. Sometimes it’s hard to pull ourselves away from the endless journey of searching out more information, more fascinating details –just a little more time, or just one more day…. Not everyone gets it. Back in the days before the Internet (I know, I’m old) I was so lost in the pages of the London Times from 1813, peering at the screen of one of those God-awful microfiche scanning machines in a library basement, I forgot one child’s orthodontist appointment, a whole afternoon, plus dinner, and oh boy, the looks I got when I finally went home!!!

The Internet has been both a blessing and a curse. So much is now available at our fingertips, but there are so many more rabbit holes to fall down!! Those were less likely to occur in the pre-Internet days. When I could only get information I needed for The Captain’s Dilemma (orig pub date 1995) by traveling to England and visiting special libraries (both military and civilian), you can bet I stayed on point for pretty much every minute I was over there! No rabbit holes. But the time thing, well, that was still an issue. Traveling alone was a blessing so there were no dinner appointments to make or other people’s schedules to accommodate. I guess there’s never enough time, no matter which way we research!

But now if we’re lost in the wonderful feast of Internet information, we may not even notice we’re down a rabbit hole until we’re pretty far down, LOL!  Does anyone else think the ease of Internet surfing has made research even more addictive?

Not to mention things like Pinterest!! How many of you have Pinterest boards set up for details of clothing, heroes, heroines, ideas for cover art, period room décor, views that inspire you –do I need to list more? Totally addictive. Every time Pinterest sends me an email with “suggestions” for my boards, I try to delete it, I really do. And sometimes succeed. But sometimes I just-can’t-stop-myself! My finger hovers, then clicks the fatal button and there goes a precious half-hour or more. But sometimes I find really helpful pictures that somehow escaped previous discovery.

For The Magnificent Marquess, I set up a board on Pinterest to collect pictures of East Indian artifacts that Lord Milbourne might have in his London townhouse after living in India. So many beautiful things!! They inspired me but I had to be careful not to put them all into the story!! (It’s called East Indian design, under Gail Eastwood-Stokes.) Here’s the link if you want to explore: https://www.pinterest.com/eastwoodstokes/east-indian-designs/ (Be warned, there’s 226 pictures!)

However, I’ve discovered readers can be interested in these things too. Am I the last one to figure this out? I just did a tea party with Cerise DeLand and Susana Ellis where I posted this silver tea pot  very similar to one my marquess uses in the story. I was astonished by all the love!! But then, I loved it, so why wouldn’t others?

On Facebook I’ve posted this picture of some gorgeous Indian teacups that were too beautiful not to use in the book. Just for fun, here’s the excerpt from fairly early in The Magnificent Marquess where both these cups and the silver teapot similar to the one above make their appearance.

The hero is serving tea to the heroine (I can’t explain why without giving spoilers):  “I must compliment you on your fetching ensemble,” Lord Milbourne said, picking up the silver teapot and pouring tea into one china cup. Was he fighting a smile? She could not quite tell. “It is so fitting to the occasion, for one thing. If I had a wife, I would make certain to take down the name of your modiste.”
Now he was openly roasting her! Apparently she was not already miserable enough. He added milk and sugar to her cup without asking, and held it out to her. She moved to the tea table and took the cup from him in suffering silence. She took a biscuit, although she was not certain she would be able to swallow anything solid, with her heart in her throat. He poured a glass of brandy for himself.
“Ah-h. One of the smaller but no less happy benefits of the war being over,” he said, holding the glass up and taking a deep, appreciative sniff. “Please, do sit. Otherwise I shall feel obliged to remain standing. In the company of a lady, and all.”
She dropped into the nearest chair, biting her lip. What he must think of her now! His tone said it all. How silly of her mother to have feared that she would ruin her sister’s chances with her blue-stocking ways! She had done a far more thorough job of it now, in a way her mother could never, ever, have imagined.
She sipped the tea, just now noting how exquisite the cup was. A little taller than usual, it was made of thin white porcelain and decorated so thickly with gold leaves, flowers, and vines that at first glance it appeared to be made of gleaming solid gold. The tea set on the table, too, at first appeared to be beautifully made but conventional in shape and design. It was only when she looked closer that she realized the silver pieces were covered with the same sorts of natural motifs she had seen on the walls and carved screens. The knobs and spout supports were flowers. Had every single thing in the house been brought with him from India?

I was tempted to make this post chock full of pictures from my East Indian Pinterest board –be glad I spared you (even though most of them are stunning!!). If you look there, just know you have to scroll down past all the weapons (Lord Milbourne has a collection of those on his library wall). Even some of those are pretty amazingly beautiful!

What are your research time and rabbit hole challenges? I refuse to call them weaknesses!! J It all goes to enrich our stories and reading pleasures, right?

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 Do you read holiday romances? I do. I read them, and re-read them when the season comes around, and keep adding them to my collection. Addicted much? I admit it. But I have questions for you.

1) Since these stories often center around Christmas activities, do you read them even if you are not of the Christian faith?

2) Does the historical context of the period make the “religious” parts of these stories, if there is some, acceptable if you don’t like “inspirational” romances?

3) Do you read them at any other time of year??

You may wonder why I am asking all these questions! I have been working on my first “holiday romance” –a Regency set in the countryside over the 12 days of Christmastide, starting on Christmas Eve day and ending on Twelfth Night. But my major medical issues and those of my husband are interfering with my ability to get it done when I had hoped, and I am considering releasing it AFTER Christmas. So here’s my biggest question:

would you buy a holiday romance after the holidays?

Book sales usually decline during December, when folks are too busy, and they tend to pick up afterwards –I guess people have time to read again once they get through the press of getting ready and celebrating!! But I would love to know if you think it would be lame to release a holiday story after Christmas, say for Twelfth Night (January 6) instead?

LOL, that’s if I can even make that deadline. But I’m considering it. My poor characters really want their story to get out there, and not have to wait until next year!! I would love to know what you think.

THE LORD OF MISRULE: On a snowy Christmas Eve day, a vicar’s daughter runs into the Devil himself, or is he just the Lord of Misrule? In a season of miracles and magic, can love bind two unlikely hearts in the days leading to Twelfth Night?

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STC26400 Village choir (see also 12274) by Webster, Thomas (1800-86); Victoria & Albert Museum, London, UK; The Stapleton Collection; English, out of copyright

One of my weekly joys is singing with my church choir. Our church is small, and so is our choir, often only six or eight people, just as I imagine a small rural parish church choir in Regency times might have been. But did you know that music in the country parish churches of Regency England was very different from what you find in churches today? I fell down this fascinating rabbit hole while doing research for my not-going–to-be finished-for-Christmas-after-all holiday story, The Lord of Misrule.

Since the heroine of LOM is a vicar’s daughter, I’ve done a lot of church-related research for that story, and am now familiar with the reforms that came with the Victorian era and the Oxford Movement in the Anglican Church. Many of those Victorian era changes have lasted into our times, and they can be a roadblock when one tries to recreate an earlier time. In a country parish church of the Regency era, it would  be rare or unlikely for you to find an organ, or hymnals, or even a choir in exactly the same sense we hear today.

“West Gallery Music” evolved in response to the need for guided singing in local church services, where there were few organs, and no trained musicians or choirs to lead the music. During the Reformation of the 16th century, organs in churches were destroyed as part of the rejection of Catholicism. Under Cromwell, English churches continued to suffer abuse, and organs were not replaced. Organs did not become popular in churches again until the middle of the 19th century!

In country Anglican churches 1700-1850, and in non-conformist churches even later, to 1860, the joyful and vibrant traditions of the West Gallery music reigned. A relatively modern term, the name comes from the galleries where the choirs sat. During the Georgian era, population was expanding and in the villages, church attendance was a major part of life. Galleries were added to the interiors of the small churches to provide additional seating, or at least open seating not owned privately, as most pews were. These were sometimes built along the sides, but the west end was usually the province of the choir.

Essentially, these untrained choirs consisted of a band with instruments and singers, and while their music could sometimes feature complex harmonies, most of the time the pieces (psalms most commonly, but also anthems and even Christmas carols), were simple, for many in the choir could not read music –even if they could read words. Instruments included whatever strings, woodwinds, or brasses might be available among the village folks or that the church was able and willing to purchase. Each instrument might anchor a section of voices, the treble parts and bass parts, for instance. The bands that played Sunday mornings also were called into service for village festivals and assemblies or any other special occasions.

Women were not allowed to sing in standard Anglican church choirs. The practice of fulfilling the high range voices with boys and young men led to the formation of many “boy choirs” who sang in the cathedrals and large city churches. However, the painting of “A Village Choir” by Thomas Webster (shown at the top) dates from 1840 and definitely shows women participating. Is it because the choir depicted sings in a non-conformist (non-Anglican) church? Or because it is from a later date? (maybe both?) I have not been able to confirm if women would have been singing in a Regency choir, at least on a regular basis. One argument made against it was simply that it would be improper for young women to be isolated away from the rest of the congregation with all the choir men up in the gallery!! By the 1850’s the West Gallery music was starting to decline, falling into disfavor because it was not considered “solemn” enough, and the trend to restore churches back to their “original” state was beginning to gain traction. Galleries were torn down and removed. Much of the music was lost or destroyed. However, in the 1980’s, a revival of this musical form started in Britain, and has spread into the U.S. and Australia. Local “quires” have sprung up, devoted to performing this unique music. Britain’s West Gallery Association provides a sort of loose central organization and resources. If you’d like to learn more about these groups, and/or the music and history, here are some good website and article links:

http://www.wgma.org.uk/Articles/intro.htm   (West Gallery Association site with a good overview)

http://www.rodingmusic.co.uk/info/wginfo.htm

http://www.immanuelsground.com/wgmusic.htm

https://en.wikipedia.org/wiki/West_gallery_music

I am disappointed and also offer apologies that I won’t be able to offer The Lord of Misrule to my readers for Christmas!! It was rolling along quite well, but a double whammy of health issues for myself and for my husband has slowed me down too much to make it feasible. I will keep folks posted about when it will actually be finished and available!

In the meantime, had you run across the West Gallery music tradition? My heroine in LOM (along with her married friend) actually gets drafted to sing in the choir to substitute for a missing choir member, but normally women would not be allowed, in that village and that church. I always say that research is imperfect at best, and a writer can make anything happen as long as it seems logical and believable.

Best wishes to everyone for the holidays, and Happy New Year! (Sending these now since I won’t be blogging again until January –and we are anticipating making some changes here at Risky Regencies, so who knows?? Thank you for visiting us here and for reading.

The English count the 12 days of Christmas as starting on Christmas Day itself, so Christmastide, or the Twelve Days of Christmas culminate tonight with Twelfth Night, ushering in the Christian season of Epiphany. Which customs did people follow to celebrate this during the Regency?

The more research you do to answer this question, the less of an answer you will find, for sources contradict each other and assumptions are made where information is lacking. Twelfth Night itself is ages old, and in earlier times eclipsed Christmas as a major holiday. The rituals and customs associated with it, and with the twelve days, are myriad.

Did people exchange gifts? On Christmas? On Twelfth Night? All through the Twelve Days? Evidence (newspaper ads for instance, and lists of gifts received kept by individuals) would suggest “all of the above”, despite some accounts that say the practice had faded out by late in the Regency. Did they still dress up as “12th Night characters” to entertain each other at parties? Jane Austen mentions this. Still celebrate with 12th Night cake, or choose a King and Queen of the Bean? Perhaps at least in the early Regency, and of course it depends on class, location, and other variables.

“…these venerable customs are becoming every year less common : the sending of presents also, from friends in the country to friends in the town at this once cheerful season, is, in a great measure obsolete: ” nothing is to be had for nothing” now ; and without the customary bribe of a barrel of oysters, or a fish, we may look in vain for arrivals by the York Fly, or the Norwich Expedition….” –Kaleidescope of January 1822.

Elsewhere in his article the writer says: “During the period which elapsed, between 1775 and the close of the 18th century, the periodical observance of old customs, festivals, and holydays, was much more attended to than at present. The recurrence of the time  hououred festival of Christmas, was commemorated in Liverpool, to an extent much beyond what is now the usage, though in a degree inferior to the manner in which it was observed in the age which was gone by.”

Were the old customs celebrated in Washington Irving’s fictionalized account of an English Christmas in “Old Christmas” from his larger work, The Sketch Book of Geoffrey Crayon, Gent.(published serially 1819-20) truly inaccurate, as claimed by the same writer?? His complaint about Irving’s work: “It is true that the Sketch Book is merely a work of imagination and not of history, and that it describes Mr. Bracebridge as an eccentric elderly gentleman, who was fond of keeping up or reviving ancient customs and old pastimes, but it is so expressed that a stranger to English habits, on reading it, can scarcely avoid falling into the error of imagining that such a mode of celebration, was observed at Christmas, in some parts of England, at the time when that book was written, or at least, in very modern times. Even if all the ceremonies, sports and observances which are there described, ever were commonly practised at Christmas, in English families, it was in an age long since past, and there is no reason to believe that the mode of observing or celebrating Christmas, described in the Sketch Book, ever occurred in England, within the last hundred years.”

The writer seems to ignore Irving’s own words in the piece itself: “I felt an interest in the scene, also, from the consideration that these fleeting customs were posting fast into oblivion; and that this was, perhaps, the only family in England in which the whole of them were still punctiliously observed.”

My belief, as always, is that –humans being humans– not everyone did the same thing, so what may be true for one area of England, or even one village, or one family, might not be true for another. We also know that, especially in the countryside, memories in England were very long and tradition revered.

This is good news for us as fiction writers. We try to recreate an accurate sense of the time period we set our stories in –otherwise, why choose that period? But at the same time, we have a story to tell. Do we have leeway to bend the facts to serve our story?

I would say no, when the facts are definitely known and established. To me, that just undermines the believability the story needs to create. I’m a firm believer in the importance of research! But when the facts are not so definite, when sources disagree or are vague? When the variable eccentricities of human nature come into play? Then I say, bring it on!

I admit to creating a setting –a backwater village that clings to old traditions –in my yet-unfinished 12 days tale, The Lord of Misrule. Even the predicament of my hero, who is stranded in said village and quite accidentally (perhaps) selected to be the Lord of Misrule, is an anachronism, since for the most part as far as we know that custom of having a Lord of Misrule was abolished in the 17th century (and even that is subject to all sorts of variations, from ruling for 3 months, October-December, to the 12 days of Christmastide, to only ruling on the also abolished Feast of Fools, or only on Twelfth Night itself).

What do you think? Does a lack of solid information give us license to do what we please for the sake of a story? Whatever your opinion on this, I wish you a Happy New Year “and many of them” as one 1805 newspaper encouraged people to say. Happy Twelfth Night, too!

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