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This month, I’m continuing my series of ebook sales for good causes. The Redwyck Charm is currently on sale for just 99 cents.

Here’s the blurb:

Marcus Redwyck, Earl of Amberley, reluctantly agrees to wed an heiress in order to save his estate. But his equally reluctant bride, Juliana Hutton, runs away and masquerades as an opera dancer. When they meet, passion leads them to the edge of scandal. Even when all is revealed, it will take all of Marcus’s resolution and the fabled Redwyck charm to win the spirited Juliana’s heart.

I realize that it’s a bit of a stretch for a properly raised young woman to impersonate an opera-dancer. I work around that a bit by not having her dance that well! But also I did have some historical justification. In The Mirror of Graces (by a “Lady of Distinction, 1811) I read that young ladies sometimes took ballet-lessons to improve their ballroom performance.

“Extraordinary as it may seem, at a period when dancing is so entirely neglected by men in general, women appear to be taking the most pains to acquire the art. Our female youth are now not satisfied with what used to be considered a good dancing-master; that is, one who made teaching his sole profession; but now our girls must be taught by the leading dancers at the Opera-house.

“The consequence is, when a young lady rises to dance, we no longer see the graceful, easy step of the gentlewoman, but the laboured, and often indelicate exhibitions of the posture-mistress. Dances from ballets are introduced; and instead of the jocund and beautifully-organized movements of hilarity in concord, we are shocked by the most extravagant theatrical imitations. The chaste minuet is banished; and, in place of dignity and ease, we behold strange wheelings on one leg; stretching out the other till our eye meets the garter; and a variety of endless contortions, fitter for the zenana of an eastern satrap, or the gardens of Mahomet, than the ball-room of an Englishwoman of quality and virtue.

“These ballet dances are, we now see, generally attempted. I say attempted, for not one young woman in five hundred can, from the very nature of the thing, after all her study, perform them better than could be done any day by the commonest figurante on the stage. We all know, that, to be a fine opera-dancer, requires unremitting practice, and a certain disciplining of the limbs, which hardly any private gentlewoman would consent to undergo. Hence, ladies can never hope to arrive at any comparison with even the poorest public professor of the art; and therefore, to attempt the extravagancies of it, is as absurd as it is indelicate.”

The picture above is a waltzing scene from La Belle Assemblee, February 1, 1817 which I think clearly shows the influence of opera-dancing on social dances.

This was a fun book to write, definitely in the category of “romp”. It was also a stretch for me to write a heroine like Juliana, who did things I’d never have dared. One reader did complain that Juliana is spoiled. But the way I look at it, even now a woman can be born to wealth and material advantages but still have to fight to determine her own destiny.

When Juliana is faced with the prospect of a marriage of convenience with Marcus, she is finally swayed by the fact that he needs her money to save his estate from falling into the hands of a man who would neglect his tenants for a quick profit. Juliana’s compassion surpasses her personal desires (at the time at least—once she realizes she’s in love with Marcus, it’s all good).

So I think it is fitting to donate the proceeds of this sale to the Flint Child Health and Development Fund, dedicated to the “long term health and development needs of Flint children exposed to lead”. If you are not familiar, here is some background on the Flint water crisis and a more recent update.

The ebook version of The Redwyck Charm is on sale at Amazon, Barnes & Noble, iBooks and Kobo.

If you’d like to donate directly, go to Flint Kids and just use the “Donate” button.

Do you like “heiress” stories? Do you have any favorites?

Elena

The Strand, with Somerset House and Mary-le-Strand church. Published by Ackerman, 1836 (from Wikipedia)

This year I’m back in Victorian London, and as it so happens I’ve got a couple of new research books, among them Voices from Dickens’ London by Michael Paterson from 2006 (republished as Inside Dickens’ London). Right in the introduction Paterson makes a claim that I found both daring and electrifying:

“The city of Dickens is a place lost to us beyond recall. It is difficult to imagine its dirtiness and dnager and its extremes of wealth and poverty. Its people did not look, speak, smell or behave like us. The ways they dressed, the times at which they ate, the slang they used and the accents in which they talked, the ways in which they worked or celebrated or took their amusements, often bear no resemblance to our experience” (10).

As somebody who has walked through London several times, often with the specific intention tracing the sights and buildings of the early 19th century, I found Paterson’s claim rather outrageous at first. After all, isn’t it our shared human experience that allows us modern readers to connect to characters in the literature of the past as well as to characters in historical fiction?

Today’s London is noisy and dirty and smells of exhaust fumes. Add to that the stink of piss and garbage in the back streets. How much worse could 19th-century London have been? There would have been different smells, of course, not of exhaust fumes, but of horses and…

Open sewers.

Cess pits.

A river that stank to heaven and spread illness and disease.

The smell of this old London, Paterson writes,

“must have been overwhelming. First, there was the smell of coal fires.. The vast forest of reeking chimneys filled the air with smoke, which covered buildings with unsightly layers of soot and left dirty black smuts on clothes and faces. There were the multifarious stenches of industry: breweries, foundries and forges, chemical works and, worse than all of them, tanneries […]. There was also the aroma of horses, on which so much of London’s transport and commerce depended — the smell of a stable multiplied millionfold. There was the scent of hundreds of thousands of people, whose tightly packed lives did not allow them opportunities to keep themselves, their clothes or their homes clean” (18).

And as to the noise —

“However noisy today’s traffic may be, it is insignificant by comparison with the din that filled the city in Dickens’ time. Countless iron-shod wheels rattled all day over cobbled streets behind clopping horses. Shouting was constant as, without any form of traffic control, drivers relied on aggression to push their way through the crush of vehicles. The sounds, thrown back by the walls of narrow streets, was so loud that it would not be possible to hold a conversation on the pavement, nor to leave street-facing windows open in summer” (17).

An exaggeration? Perhaps, for after all, the street sellers were still able to hawk their wares. And there were street musicians, too — Italian boys with barrel organs or harps — and street performers of every kind.

No Big Ben, of course.

Some of the things Paterson considers strange — like the closure of all shops and museums on Sunday — don’t seem quite so strange to those who have a different cultural background than the author (in Germany, shops are closed on Sunday).

And yet, the London that emerges from the pages of Paterson’s book is indeed very different from the London of today. It also differs markedly from the London you get to see in most of those pretty TV adaptations of 19th-century literature (with Dickens adaptation being the big exception).

As the title suggest, Voices from Dickens’ London relies heavily on primary texts by Victorian journalists, authors, and everyday people, which are quoted extensively (though not always quite accurately: ellipses are often unmarked). This makes Paterson’s book both fascinating reading material and a rather fantastic source — one I can highly recommend.


I wrote this post yesterday. Today, London was once again hit by catastrophe: This morning, a devastating fire started in Grenfell Tower in Kensington and killed and injured many people. My thoughts are with all those affected by the fire.

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I’m in the middle of teaching an online class, “Introduction to Writing Regency Romance.” Preparing for the class helped me brush up on the basics and the participants seem to be enjoying it. I certainly am. It feels rather nostalgic to answer questions I asked about seventeen years ago when I started my first manuscript!

One thing I’m keeping in mind while teaching this class is that there are many types of Regency romance—traditional, inspirational, long historical, paranormal, erotic, and other variations. There are also many different readers—some who love specific genres, some who are more eclectic in their reading, some who prefer “sweet” romance, some who enjoy darker stories, etc… Even though the historical background is unchanging, I believe that readers have different ideas of what sort of Regency world they most want to visit and since romance is meant to be entertaining, there really is no right or wrong Regency world, only personal preferences. So in each lesson, I strive to provide accurate information, but also allow each participant to decide for herself how much she wants to use that information in her stories.

Within my books, I do strive to get the details right. My characters may bend the rules of society, but not without being aware of the risks they take. But I’m not a purist about every matter. I know perfectly well that the hero’s clothing on the cover of Fly with a Rogue is inaccurate. However, I chose this image for a specific reason. I’ve found that readers don’t always check my blurbs to gauge the sensuality of my books, so I used this image to help them recognize that this is one of my sexier books. So far, no one has complained about the sensuality, and no one has complained about the inaccurate clothing either. I think I’ve achieved my goal of making sure the right readers buy this story.

As a reader, I’m pretty eclectic. I’m OK with books that create rather different versions of the Regency. For instance, I don’t care if some of the details are over the top in a really funny story. In an angsty story, I want more realism. I try to be a forgiving reader regarding a lot of historical details, though there are a few that grate.

As someone who’s done a bit of riding, I find that errors regarding horses do bother me. The funniest one was the story in which the hero kept teams of black stallions posted at inns between London and his country home. I’m sure this seemed romantic to some, but anyone who knows much about horses would know just how unrealistic this would be. (Most male horses are gelded as this makes them easier to manage; generally only the ones deemed best for breeding are kept intact.)

The sort of things that bother me most, though, are those that paint a Regency society that is too different from what I imagine from my reading and research. These include books in which the characters behave as if they are completely unaware of social conventions—not merely rebellious, but unaware. These also include books in which the social conventions are stricter and feel more stuffy and Victorian than Regency. I’ve read books in which characters are declared “compromised” after a brief time alone, even though there are plenty of scenes in Jane Austen’s books where couples are not closely chaperoned. There might be gossip, such as there is when Marianne is out driving with Willoughby, but not the full-flown scandal of, say, Lydia running off with Wickham.

Anyway, I’m curious what others think. What’s your favorite kind of Regency world? Without naming authors, because this is a polite space, are there any pet peeves you’d like to share?

Also, the ebook version of The Incorrigible Lady Catherine is on sale this week for just 99 cents. Lady Catherine is one of my more rebellious heroines. Besides trying to elope with a rake, she shocks her family by playing Beethoven sonatas, which were considered too passionate for ladies. Since she derives so much pleasure and comfort from the arts, I’m going to donate the proceeds to PBS.

You can get The Incorrigible Lady Catherine for Kindle, Nook, Apple, and Kobo.

Elena

www.elenagreene.com

Two weeks ago, I paid another visit to my favorite reconstructed Roman fort—but this time, I was not alone, oh no! I was accompanied by my Roman rubber duckie, who felt straight at home in front of the porta praetoria, the main gate…

The Roman rubber duckie in front of the main gate of the Saalburg
…and between the Emperor Augustus‘ feet…

Duckie between the feet of the Emperor Augustus

But I didn’t visit the fort just for a photo shoot with the Roman rubber duckie, no, it was market day at the Saalburg, and at various stalls spread across the whole museum you could learn about antique crafts such as pottery (did you know boiling earthenware in milk will seal off the pores and make it waterproof?), spinning, glass making, and bone carving. I was quite surprised to learn that objects made from bone can be dyed, e.g., with onion skins or even green rust, which produces a lovely turquoise color.

Game counters made from bone

Game counters made from bone

There was also a stall with Roman cosmetics on display. Apart from a lead foundation (to make your face look all nice and pale) (it might get paralyzed a little, mind you, so perhaps you might want to use chalk powder instead, even though it doesn’t look as pretty as the lead), Roman ladies also used eyeshadow (the more colorful the better), rouge, and eyeliner.

Most make-up was available as a powder. A bit of powder would be mixed with a bit of oil and then applied to the face.

Roman cosmetics

Roman cosmetics

One of the highlights of the Roman market was definitely the military demonstration: a small group of auxiliary soldiers went through a number of exercises, while their (rather dashing) optio watched on with eagle-eyes. 🙂

Auxiliary soldiers & their optio
A Roman horseman going through a few simple weapons‘ exercises formed the crowning glory of that demonstration. He was in full regalia, including a silver mask, which the Roman cavalry wore on special occasions, e.g. for cavalry games.

Roman horseman
All in all, it was another delightful trip into the Roman past!

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I want to thank all the lovely readers who’ve been patiently waiting for my next book. I also need to apologize for how long it is taking. I tried to work on a new romance project last fall, but realized that I needed to do a lot of therapeutic journaling to unblock. I’ve been doing that and making peace with a lot of inner demons in the process. At the same time, I’m feeling the urge to reconnect with my career as a Regency author, so I’m working on a couple of related projects.

Halley Hixson, one of those lovely readers and also a writer, asked me to teach an online class for Low Country RWA. Since I’m more of Regency jack-of-all-trades than a mistress of any specific topic, I decided to offer an introductory class. The goal is to help writers who enjoy reading Regencies but are just getting started writing their own and could use a jump-start with the research including some basics and suggestions for further exploration. My challenge has been to figure out what to include and what to leave out–each lesson could be whole class of its own! But I’m having fun with it and it’s helping me to get the Regency world back into my head again.

If anyone would like to register (or suggest this class to someone else), here’s the registration form.

Below is a cute cartoon of “A Receipt for Courtship” that I found while putting together the section related to courtship.

My other project is to connect my concern for social issues with my writing. (One of my friends calls my books “social justice smut”—from her, it’s a compliment!) I’m planning to start running sales of my backlist titles and donating my portion of the proceeds to a different cause each month.

This week, Lord Langdon’s Kiss is on sale for 99 cents. The heroine, Nell, is a vicar’s daughter and very involved with the families in her father’s parish. She would be moved by the plight of refugees from Syria and many other places, so I decided to share the proceeds of this sale with the International Rescue Committee, a 4 star charity. Here’s a short description from their website.

International Rescue Committee responds to the world’s worst humanitarian crises and helps people whose lives and livelihoods are shattered by conflict and disaster to survive, recover, and gain control of their future.

One of the many things they are doing is helping the medical response for civilians in Syria suffering from recent attacks using chemical weapons. Learn more at www.rescue.org

Lord Langdon’s Kiss is available at Amazon, Barnes & Noble, iBooks, and Kobo.

Please consider giving directly as well. I’ve created a fundraiser page at Crowdrise where you can make a direct donation.

What projects has everyone else been up to (writing or otherwise)?

Elena

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