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Sorry this is such a late blog.

What was enclosure and why was it such a big issue in the Regency? Cara’s post on the changing face of London reminded me of the great changes that took place in agriculture in our period.

If you’ve ever taken a train ride in England you may have noticed gentle swells in the land, the rig and furrows of medieval farming. (They’re easier to spot from trains than roads, I find, because you’re higher.) Generally they’re visible on pasture land, because modern ploughing will destroy them, although they could be up to three feet high. Crops grew on the rig (ridge) and the furrow provided drainage. Each rig represented one day of ploughing. Typically the land consisted of these cultivated strips, and the unplanted areas, although technically belonging to the lord or landowner, were designated common land, for the use of tenants and workers. There’s only place left in England that still has the Open Field system, the village of Laxton in Nottinghamshire, I found a picture of the Laxton fields, but it doesn’t really look like much–flat land, no hedges–more like a prairie.

The first great wave of enclosures came in the sixteenth and seventeenth centuries, when land was enclosed for grazing as the wool industry grew. By the Regency period, it was again big business and enclosure had a profound impact on country life. The common land was a source of fuel, grazing and foraging for animals, and even food for farmworkers. They eked out their wages, and the equally small wages women made from traditional cottage industries such as hand spinning, button- or lacemaking, and straw plaiting (for hats), with the resources of the common land. Once the land was enclosed, they lost their livelihood.

So began the migration of displaced countrydwellers to the cities, and it also explains why the servant population became dominated by women in this time period.

My question (grasping wildly at straws)–what books have you read that capture the feel of the English countryside? I recommend Lark Rise to Candleford by Flora Thompson, which is about country life in 1880s Oxfordshire. She mentions the old people of her village who remembered the land before enclosure.

Join the Riskies mailing list at riskies@yahoo.com and graze your geese and pigs for free!

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Last week one of my children’s teachers gave me a homework assignment: to write about my child in a million words or less. We laughed about it over the dinner table. My husband knew I really could write a book about either of our children. (I was proud of myself when I completed the assignment without adding extra papers, though I did fill both sides.) My children asked me if I really could write a million words. I told them I thought I already had and did some estimates.

LORD LANGDON’S KISS: 75,000
THE WEDDING WAGER: 20,000
THE INCORRIGIBLE LADY CATHERINE: 75,000
THE REDWYCK CHARM: 75,000
SAVING LORD VERWOOD: 75,000
LADY DEARING’S MASQUERADE: 90,000

410,000 total published words. But I usually do at least 3 drafts that are pretty much total rewrites (the 4th is polishing). So I’ve probably written about 1,230,000 words in order to create these 6 published works.

And that doesn’t count works-in-progress.

I also have 3 chapters of a proposal I’ve put on the back burner: about 9,000 words. Two drafts of the balloonist story: 200,000 more. And about 65,000 words of first draft on the story I started during NaNoWriMo week.

The grand total (drumroll here): 1,504,000 words.

If I ever start doubting that I am a real writer I’m going to look back at this total!

So how about you, Riskies and friends? Do you think you’ve written a million words yet, or does it just feel like it? I wonder how many we’ve written in total? Probably a brazillion. 🙂

And for our friends who aren’t writers, do these numbers come as a surprise?

Elena

www.elenagreene.com

Ah, lovely Trafalgar Square. When I first lived in England, you had to cross an extremely busy street to get from the main part of the square to the National Gallery. Today, that street is a pedestrian-only zone.

Definitely an improvement.

Now that I have pointed out that I am able to see that some changes are good, let me just say that, in general, change disturbs me. Not on an intellectual level, but on an emotional level.

When I go to London with Todd, there’s quite a bit of “Oh, that’s where that great Vietnamese Restaurant used to be” — “oh, and here’s where the Dillons used to be that got the windows broken in that football riot” — “oh no, that cool little shop in the tube station where I could always find a Diet Tango is gone” — “you’re kidding, they moved the Tourist Information AGAIN?”

And then we go to Norwich, where’s there’s now a MALL on Castle Hill, and the library’s in a gigantic glass building which also has a museum and a Pizza Express.

Okay, yes, these aren’t all bad changes. The old Norwich library (which burned down) was one of those ugly 1960’s type buildings — no great loss.

But part of me wants the world to stay the same. Seeing bits disappear when I’m not looking is like glancing down at my feet to find part of the floor has disappeared.

Which has me thinking.

The Regency was a time of great change, in so many areas. Stunning, staggering change.

How must Regency folk have felt about this? Because, however they felt, they surely noticed it. Did they hate it? Love it? Vary in opinion?

What do you think? Did London folk get upset when buildings were knocked down and streets torn up to make Regent Street and Regent Park? Did older folks complain that fast roads were ruining both the countryside and young men’s morals?

And do you get bothered when things change?

All comments welcome!

Cara
Cara King, author of MY LADY GAMESTER and mourner of the tastiest Vietnamese restaurant in London

The Cover Gods have blessed me once again!

Take a look at my new cover of The Vanishing Viscountess, coming January 2008 from Harlequin Historical!

I am THRILLED TO PIECES!! Not only does the scene fit the story, but the models even look like the hero and heroine.

The Vanishing Viscountess is Tanner’s story. Tanner first appeared in Innocence and Impropriety and when he threatened to take over the book, I promised him a very special book of his own. He settled down and allowed Flynn to get the girl in the end. Just as I suspected, however, Tanner gave me a wonderful good time writing his story of rescuing a viscountess-on-the-run and aiding her escape to Scotland.

Oddly enough when I was planning Innocence and Impropriety, I chose this image for Tanner. I didn’t realize that I’d chosen Gerard Butler, nor had I yet seen Phantom of the Opera and embarked on my Gerard Butler obsession. But talk about foreshadowing! Who thought that I’d foreshadow Tanner’s abs!

I do realize that the shirt and vest are not Regency period correct (Regency shirts did not open in the front and I doubt a Regency vest would be that color). I know I’m hypocritical, because I did lament about the Innocence and Impropriety cover hero wearing his neckcloth tied in a bow, and I made a big deal about the Beau Brummell BBC TV movie showing an open-front shirt. I do not care. The Vanishing Viscountess cover strikes just the right tone for the story and I’m betting the bare abs will make browsing female bookstore patrons pick up the book.

But if a gorgeous, bare-chested guy on one book wasn’t enough, I also received the cover for the UK version of last year’s Christmas anthology, featuring my novella, A Twelfth Night Tale and stories from yesterdays guest blogger, Elizabeth Rolls and the very talented, Deborah Hale. The UK version will be released October 2007 and was renamed A Regency Christmas.

Isn’t it a lovely Christmas cover?

You can actually order this book from Mills and Boon right now!

Visit my website to hear me gush more about these books. My contest this month is to win one autographed copy of my RITA winner, A Reputable Rake, for yourself and another copy for a friend. The Cover Gods were good to me for A Reputable Rake, too.

Is this a good time to renew our cover debate?

Would you be as thrilled about The Vanishing Viscountess cover as I am or do you think it is too….mantitty?

What kind of covers do you like best?

Do covers influence whether or not you pick up a book in a bookstore?

If you are reading a romance in public, do you conceal the cover? (I confess, I used to, but now I hope someone notices and dares to say something to me!)

If you are near Williamsburg, Virginia, this Saturday, September 15, from 1 pm to 3 pm, I’ll be signing copies of Innocence and Impropriety, along with Romance Authors, Michelle Willingham, Marliss Melton, and Sydney Croft at The College of William and Mary Bookstore (Barnes and Noble), 345 Duke of Gloucester Street, Williamsburg. Mention Risky Regencies and I’ll have something special for you!

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