Announcing Bluestocking Belles

Bluestocking-Belles-logo-01-300x300My seven author colleagues and I are delighted to unveil the group we’ve been putting together over the last couple of months.

Bluestocking Belles is a group of eight authors who write novels set in or around the Regency period. Come and visit our website. Meet the other authors and their books, and learn about the Malala Fund, the charity we jointly support.

We’ve got lots planned for the future, including a book club, boxed sets of our work (some written specifically for the Belles), interesting newsletters, and fun contests. And we’re kicking it all off with a Housewarming Party in e-space on 14 March (or 15 March if you live on my side of the date line). Please join us in one or all of the three party venues:

We’ve an exciting line up of giveaways, games, and questions, and the eight of us (and some of our characters) will be delighted to mix and mingle with all of you lovely people.

And if you can hardly wait, fill in the time by entering the Rafflecopter we’re running between now and then. Be in with a chance to win an amazing grand giveaway prize of books, swag, and gifts from the Belles.

 

All at sea – travelling the Mediterranean in the early 19th Century

640px-French_ship_under_atack_by_barbary_piratesI’ve been researching times for sea travel. I began because I had a soldier to get home wounded from a battle in Alexandria. The times didn’t work, so I had to have him injured elsewhere.

It’s a tricky question, because it depended so much on the type of ship, the time of year (and therefore the prevailing wind), which direction they were travelling (trips towards the west were slower than trips towards the east) and the weather encountered along the way.

But I’ve managed to come up with a table showing what I think are reasonable timings for a medium-sized sailing ship – a brigantine or a frigate – in the early 19th.

A fast ship given perfect conditions would do better, and bad conditions could mean the trip took a lot longer. And pirates could mean you didn’t finish it at all.

I’d be delighted if any of you naval buffs want to correct my figures. Just comment below.

Embarkation port Destination port Nautical miles Time spent on the voyage
Rome (Ostia) Gibraltar 935 7-10 days
Gibraltar Rome 935 7-10 days
Tunis Gibraltar 820 6-9 days
Gibraltar Tunis 820 6-8 days
Istanbul Rhodes 445 5-6 days
Rhodes Istanbul 445 5-6 days
Rhodes Marsala (in Sicily) 760 30-50 days
Marsala Rhodes 760 20-30 days
Gibraltar Marsala 857 7-10 days
Marsala Gibraltar 857 7-10 days
Marsala Alexandria 1175 20-30 days
Alexandria Marsala 1175 45-65 days

Add 1374 miles from London to Gibraltar, and you begin to have a sense of the distances.

Troubles in coverland

BookcoverFtK4I do make trouble for myself. I have this concept for the cover of Farewell to Kindness. Since Anne’s ability as an archer is a pivotal plot point, I want the cover to feature a woman in regency dress with bow and arrow. I put the image on my working cover together from several other images – one person’s hair, another person’s body, and a random background. But all along, I’ve planned a cover shoot for the real cover.

I have a photographer (the charming Britt, who drew the chair for Candle). She has organised a model. We have a selection of places for the shoot. But do you think that we can find someone who will let us borrow their long bow?

I’ve tried the prop hire firms. Long bows are apparently not much in demand for New Zealand movies and television shows. I’ve tried the archery clubs. Some archery clubs do have long bow enthusiasts, but not within easy driving distance of my model and photographer.

I’m pinning my hopes on the re-enactment societies. I’ve made several approaches to different groups, and I think I may be getting somewhere. Yesterday, I spoke to someone who has spoken to someone… But no call last night, so if that hasn’t worked by next weekend, I’m off to the annual joust half an hour from here, where they’re advertising traditional archery.

Watch this space!

Meanwhile, here are the four designs (wrong photo, but experiments to look at typography and placement) Britt has sent me as concepts. What do you think?

Rough draft 1 Rough draft 2 Rough draft 3 Rough draft 4

Farewell to Kindness deleted scene – Anne’s trip to Bristol

I’m travelling today, and so I thought I’d post the deleted travelling scene from Farewell to Kindness. I enjoyed writing it, remembering all the times I’ve travelled with my own children or entertained someone else’s children on a train or a bus. But it didn’t help the pace of the story, it introduced a whole heap of characters who never appeared again, and the single plot point could be carried in the one or two paragraphs that replaced it.

The photos of luggage are from my Pinterest board Farewell to Kindness trip to Bristol.

Behind time

A few minutes later, they were away. This was the shortest part of the trip. Some of the passengers had left Gloucester at 7.00 in the morning, but now there was just 15 miles to go. They would break the trip only once more, at Winterbourne.

Anne was squeezed between a large woman who had not woken during the Chipping Niddwick stop, and a small balding man who offered her a tentative smile over the top of his glasses. On the opposite seat, a young man was trying to keep a small boy occupied with cats’ cradle patterns in wool, while his wife rocked a sleeping little girl.

18th century luggageBefore long, the boy lost interest in what his father was doing, and became restless.

“You look like a boy who enjoys stories,” Anne said to him. The boy looked to be of an age with Daisy, who had a robust taste in adventure, preferring Anne to spice her tales of fairies and princess with wicked pirates and hungry dragons. Playing down the fairies and playing up the dragons should work for a boy.

He looked at her with hope and suspicion. “He does love stories,” his father said, his own expression all hope. Then hastened to introduce himself and his family. “This here is Georgie, and that’s Millicent with my wife, Mrs Norris. George Norris, that’s me. And that there lady by thee, that be my mother.”

So Anne introduced herself before launching into a tale that she made up as she went along, in which a coach travelling through the Gloucestershire countryside was magically transformed into a ship that – beset though it was by storms, pirates, dragons, and a rather large giant who wanted to take it home for his bath – nonetheless managed to come safely to port not quite an hour and a half later as the coach pulled into Winterbourne.

By this time, young Georgie was leaning on Anne’s knee, anxious not to miss a single word of what she said, and Anne’s voice was growing hoarse. “The End,” she finished, with a sense of relief.

At the inn in Winterbourne, the older Mrs Norris woke, and levered herself out of the couch asking for the necessary. The guard poked his head around the door into the couch. “Does anyone else need to get down? We’ll be here 10 minutes. And we don’t wait for no-one.”

Georgie whispered something to his father, and they left the coach, followed by the small balding man.

“Can George get you a drink, Ma’am?” Mrs Norris said softly over the head of the sleeping girl. “Thy throat must be that sore from all that story. Why it was as good as the players that come to Christmas fair, and so it was!”

wallpaper boxAnne turned down the drink, wanting to avoid her own trip to the necessary, but thanked Mrs Norris for the thought and the compliment.

Mrs Norris senior clambered back into the coach. “Move over, Lilly, do. How’s my Milly?”

Mrs Lilly Norris, who had relaxed into the middle of the seat, shifted sideways again to accommodate her mother-in-law’s bulk, and dropped the little girl’s head so that Mrs Norris could see her.

“You should wake her, you should.” Mrs Norris turned to her son as he put his son up into the coach and followed. “I’ve been telling Lilly she should wake Milly, else she’ll not sleep tonight.”

The guard poked his head in the door again. “Are we all aboard, then?”

“There is still one gentleman to come, I think,” Anne told him.

The guard said something scathing about passengers, adding, “Not present company, ma’am. Best take your seats. We’ll be off in just a tick, whether the gent comes back or no.”

Mrs Norris was still organising her children and grandchildren, and took no notice, but it didn’t take her long to set Norris next to Anne, and settle herself beside her grandson, with her yawning granddaughter on her knee.

“There, now we shall be comfie,” she announced, with satisfaction. “Feel under the seat, young Georgie, and tha shall find summat tha’ll like, I warrant.”

Georgie obeyed, pulling out a rectangular basket just as the thin balding man attempted to climb into the coach.

“Here, be careful, fellow,” the man said.

Norris apologised, and helped Georgie hoist the basket onto the seat between his wife and his mother.

He sat back just as the coach started with a jerk, and Georgie fell backwards against the thin man, prompting more apologies.

“Tha’ll have one of my apple turnovers, and all will be well,” offered Mrs Norris, digging into the basket with one capacious hand, while steadying the child on her knee with the other. And she and her daughter-in-law proceeded to hand out food from a seemingly bottomless basket – pork pies, apple turnovers, gloucester tarts.

Anne accepted a tart, offered shyly by Lilly Norris. “Tha should have a pork pie, ma’am,” Mrs Norris told her, frankly. “Tha has no meat on thee.”

The thin man shared his name after the first apple turnover, and the reason for his journey after the second. He was Frank Durney, and he was on his way to Bristol to take up a job as a clerk in a counting house. This coach, which he had joined at Chipping Niddwick, was his second of the day.

After his third tart, Durney complimented Anne on her story, and after the basked had been packed away, he launched into a song that, he said, had always amused his own little one.

It involved dancing for all kinds of rewards, and the others knew it. Norris and his wife joined in the singing, and Mrs Norris danced little Milly on her knee to the music, until both children were weak with giggling.

painted basketNorris produced another basket from under the seat, and pulled out a jug of cider and some wooden beakers, which he passed out to everyone in the coach, even the two children.

“And what about yourselves?” Durney asked. “It’s a long trip for the children. Cheltenham, was it, you came from?”

“Gloucester,” Norris told him, leaning out to see Durney around Anne. “But Mother has always had a yen to see Bristol, and Mrs Norris here,” he raised his cup in a salute to his wife, “she wants to stay at the seaside. So we’re off on holiday, we are, just like the nobs.” He said the last with great satisfaction, then looked at Anne with alarm. “Saving your presence, Ma’am.”

“All that way for a holiday!” Durney sounded shocked.

“What I say,” said Mrs Norris cheerfully, “is you’re a long time dead. That’s what I say. Let’s go and have a good time, I said to George here.

“But such a long way. And so much money!” Durney was clearly having trouble grasping the concept.

“Business is doing well, lad, and George deserves the time off, I told him. You’re a long time dead, I said.”

Durney looked inclined to continue arguing, so Anne hastily changed the subject. “The ride seems much smoother.”

This worked, as Durney had information he wanted to share. “We’re on the Bath road, Ma’am,” he told her. “Up till now we’ve been on lesser roads, but the Bath to Bristol road is a major post road. The toll charges are higher, but they put the money into keeping the road up.”

The following dissertation on road maintenance soon lost Anne, but clearly fascinated Norris and his son, and Anne ended up crossing the coach to sit between Lilly Norris and Mrs Norris, so that the two men could talk about various methods of road surfacing and maintenance while the boy listened.

“We will be in Bristol soon, I think,” Anne told Milly, who was shifting restlessly on her grandmother’s knee.

“I going to the sea,” Milly told her, before putting her thumb firmly back in her mouth.

“How exciting. Have you seen the sea before?”

Milly had never been to the sea, it appeared, and neither had any of her family. Anne talked to them for a little while about walking on the sand and wading in the surf, and about the shells, and strangely shaped wood, and other things that washed up on the beach.

She was surprised when she realised they were coming into Bristol. This last part of the trip had gone very quickly. Both children abandoned the adult conversations to press their noses up against the coach windows.

Before long, they turned into the yard of the coaching inn.

The-Cambridge-Telegraph-a-mail-coach-about-to-depart-English

What’s in a word? Authentic language in historical fiction

One of the challenges facing a writer of historical fiction is that our language keeps changing. In 2015, our vocabulary, our speech patterns, and our tolerance for formal grammar conventions are all very different to what they were 200 years ago, or even 100. We need:

  • to use words that were in use at the time, but that modern readers will understand
  • write dialogue that sounds authentic, but that is also easy to read for modern readers.

Ian Reid, in his blog Reid on Writing, talks about:

…the challenge of creating a language that achieves verisimilitude – the semblance of reality. It’s no easy matter to persuade your readers that your narrative medium is rendering accurately how people spoke and wrote in your chosen period and place. The writing must seem to embody their characteristic turns of phrase, their conversational habits, the structure of their sentences – not only to avoid anachronism but also to gain an insight into the way they thought and felt, which would sometimes have been different from what we’re used to today. So meticulous attention to language isn’t pedantic in novels of this kind – it’s vital for credibility. But it needs to be done in a manner that avoids weighing down the story and slowing down the reader.

And John Yeoman points out that such language must not sound too modern to modern ears.

If the reader detects a linguistic howler in our work (although the reader may be wrong), the illusion is shattered. When I had a character in my last Elizabethan novel abandon his ‘go cart’ to ‘jet’ about Europe, arrive in England by ‘bus’, take his ‘train’ to Slough, then leave his ‘car’ at Ivinghoe, some critics chided me for my anachronisms.
 
Nonsense! I was simply being faithful to the everyday language of the 1590s. Those terms, surprisingly, were associated with transport in the period. The truly erudite reader, I felt, would have understood (and chortled). But s/he didn’t. In the reader’s view, I had committed five howlers.
When I was researching for this post, the word I kept coming across was ‘authenticity’. We simply cannot accurately reproduce the language of the past.  What we can do is give the readers a flavour of the past; a sense of authenticity. This becomes more and more acute (as Lynn Shepherd points out in a blog post on authenticity) as we go further back in time:

People in the past didn’t just dress differently from us, they talked differently too, and that difference gets wider the further back you go. And at some point – probably around the year 1500 – authenticity of language becomes literally impossible: if you’re writing about the Trojan war you simply can’t do your dialogue in Ancient Greek, any more than a character like Cadfael can speak in Middle English (or, indeed, medieval Welsh).  So some sort of compromise has to be found.

Do you opt for a style that conveys some notion of the period, or take the view that your characters would have spoken the ‘ordinary English’ of their time, so allow them to use ‘ordinary English’ as spoken now? I’ve seen both approaches – and many variants in between – and each has both pros and pitfalls. The danger with the former is what I call Forsooth Syndrome, in which you end up with characters spouting a queasy mixture of contemporary English liberally sprinkled with cod words and phrases designed to give a period feel. It can sound very phoney – a bit like a newly-built pub decked out with reproduction horse brasses. But going for the full-on modern-English-and-be-damned approach does make the task of creating that elusive ‘atmosphere’ all the harder.

I’ve tried to keep my vocabulary authentic. I’ve used contractions in my general descriptions, but not in the conversation of my upper-class ladies (except in moments of great stress). Otherwise, I think my writing is modern in style. I hope I’ve done enough to give an authentic early 19th century flavour to my writing.

To keep the vocabulary authentic has meant researching all sorts of unusual topics, such as what words were used for intimacy in my time period. And where I’ve failed, I’ve been ably supported by my excellent proofreader, who has highlighted and questioned words that felt modern to her.

Yesterday, she sent me a link to a resource Mary Robinette Kowal created when writing her Regency Magic series. It is a list of all the words Jane Austen used: 14,793 of them. She has generously posted it on her website, as a text file and as a plugin for Open Office. If you’re writing in the late Georgian or Regency era, go take a look. (And if you haven’t read Kowal’s Glamourist histories, do yourself a favour and check them out.)

What to do with a bad review

Kilburne_The-love-letterI’m thinking about bad reviews this week, because — after a dream run for Candle’s Christmas Chair and over 80 reviews — I have my first two really negative ones. I’ve had some people make critical remarks, and some give low ratings, but the novella has not been truly panned till this week.

What do you do with a bad review? Some people have tantrums. Some weep. Some sigh philosophically and move on. I research and turn it into a blog post. I know! Right?

Steve Aedy, in a guest post on Book Baby, gives three reasons why a bad review is good.

Reason one is that you might be able to learn from it:

Sift through all the “I hate this book,” sentiments.  Find the real substance of the review – characters are flat, grammar and punctuation wasn’t perfect.  Take these tips to heart the next time you pick up your pen.  Look for ways to improve your writing.

Reason two is that bad reviews can get your book noticed. And a debate between people who like the book and those who don’t can attract even more attention. Even bad reviews, then,boost book awareness. Aedy points to the example of 50 shades of grey; 30% of the reviews on Amazon are negative.

Reason three is that bad reviews enhance Search engine optimisation.(SEO)

Every time someone posts a link to your website on their website, it makes Google happy.  This happiness results in SEO.  Google doesn’t care about the reviewer’s scathing remarks.  All Google cares about is the link that reviewer posted.

I found a fourth reason. A bad review gives your good reviews credibility, making it clear to readers that your reviewers aren’t just your Mum in multiple identities.

And a fifth. A bad review that specifies exactly what the reader doesn’t like may attract a reader that loves books just like yours. Your reviewer hates time travel books by means of a magic-wielding cat, and can’t stand wise-cracking heroes and super smart heroines? And they say so? They’ve just marketed your book to those who were searching for all those elements.

Carol Pinchevsky has some advice for new authors.gleaned from interviews with some of sf’s great, all of whom have had bad reviews.

– Think about what the critic is saying.

Carey says, “Obviously, my intention [to deconstruct Tolkienesque epic fantasy] wasn’t clear to that reviewer, so the comment is constructive in terms of forcing me to think about how I could have better executed my idea.”

Brin says, “No matter how good you are, there is always some way to become ‘even better.’ Hence you need to be open to the bad news, as well as the good.” Brin believes in this enough to create his own acronym: CITOKATE (“Criticism Is the Only Known Antidote to Error”).

– Don’t read reviews:

Cherryh reads no reviews, neither negative nor positive. “If they’re good, I might divert my writing to try to please. If they’re bad, I’d feel bad, and maybe be tempted to change my writing to please. In either case, not a good thing.”

– Stay cool.

Carey says, “Readers’ expectations are something authors can’t control…. Taste is personal and reviewers are only human.”

– Remember, it’s nothing personal.

“We review books, not writers,” says Hartwell.

Finally, Pocket full of Books has a regular feature in which they link to authors who have reacted badly to a bad review. Go take a look if you want an example not to follow:

So what did I do about my own two bad reviews?

The first hated the snippets of history, was bored by the use of the language of flowers, and just wanted my hero and heroine to get on with the love story. This reviewer called the novella ‘a total snooze fest’. Best strategy? Ignore. (That said, I’m grateful to the person who posted a five star review on the same site, giving readers two very different opinions to consider.)

The second was on a site that already had a number of positive reviews, and was quite long. Here are some quotes:

‘far too frequent mentions of anatomy and implied love making at the end (married couple).’

‘Min gives in to the hero’s pestering and her baser feelings’.

‘sure [Candle] is kind and caring’

‘some might think his attentions sweet but I found them annoying and over the top’.

On the whole, I think that, if anyone reads the review, such comments are more likely to work for me than against me. Thanks, reviewer.

The reviewer’s most scathing remarks were reserved for a perceived historical error. The review sent me hurrying to check my facts when it claimed that the Roman Baths in Bath were unknown in 1805. I was sure that this claim was wrong, but looked anyway. The discovery was in the 18th Century. I can only speculate that the reviewer confused the 18th Century with the 1800s.

Phew! I expect I will (and probably have) made mistakes, but I try hard not to, and that one would have hurt.

Enough said, and enough attention paid. Time to get back to writing the next book.

Lydia is bored – an excerpt from Farewell to Kindness

regency-fashion-plateOn this visit to Swinbeck Castle, Lydia was finding the country less boring than usual. Quite apart from the young and lusty lover who kept her amused and the servants scandalised, she was gaining unexpected entertainment from joining the committee that was organising an assembly in the nearby town.

She sniggered inwardly. The most recent committee meeting had been particularly funny. The other ranking lady was a nobody from a trade family who had married into a title. Lydia made a point of opposing her at every turn, just for the pleasure of seeing how the other three women, toadies all, coped with trying to please both her and the upstart. The upstart had a higher title, but Lydia had the higher pedigree.

She didn’t attend every meeting, of course. She was on the committee to lend it her name and influence, but the commoners could do the actual work, and she included Lady Upstart Avery, who was as common as muck.

This afternoon, though, there was no meeting and Chirbury’s nephew was asleep in her bed. The game they’d played until dawn had involved a number of challenges for young Nat, sending him running and climbing all over the castle, with the challenges becoming more demanding and the rewards more intimate as the night wore on.

Lydia’s exertions had been confined to the interludes between challenges, and she’d drunk water while he tossed down brandy. She was wide awake and looking for something to do.

After a long soothing bath, she submitted herself to her maid’s hands. This girl was one of Carrington’s cast-offs, and credited Lydia with her change in status. No need to tell the girl that she’d developed too many curves to retain Lord Carrington’s interest. Gratitude made her loyal. And she’d become quite skilled at dressing hair, mending dresses, and creating lotions that softened her mistress’s skin.

Dressed at last, she checked Nat, but he was still asleep. She toyed with the idea of waking him. Still, he’d be of more use well rested.

She frittered away half an hour trying on jewellery. Most of these were family pieces. Her stepson, Tony, had asked for some when he married his little mouse. She told him he could pry them out of her dead, cold hands.

Still, she’d sent him a few pieces when she sent him her daughters. Not the best pieces, of course. But she was grateful that he’d taken his four half-sisters: Carrington’s daughter by his second wife, and her own three girls.

Carrington had not been amused at her decision to send them away five years ago. “Do you think I am a danger to my own daughters?” he challenged her, impaling her with his pale blue eyes. She denied it, of course, but still she knew, deep in her mind, that her intervention had been too late for the step-daughter.

She didn’t dwell on such thoughts. She’d learned as a trembling teenager, offered to Carrington by a debt-ridden brother, not to think about past or future, but to enjoy the moment as well as she could, and to please her husband.

Sending her daughters away was the one time she defied him, and even then, she did it without his knowledge and faced him only when—weeks later—he noticed his daughters were gone.

Though he punished her for her presumption, Carrington didn’t confine her as he promised, or send to bring his daughters back, which was confirmation of a sort, if Lydia cared to think about it.

She did not.