Playing at story

6a00e5509ea6a18834017ee9cffee3970dWhen our kids were young, the PRH was in charge for training people in his profession for the whole of the lower South Island. Whenever we could, we’d all go along – so we had lots of long car trips, and I evolved a number of ways to keep the mob entertained on the way.

Several of these involved telling storytelling, and some I still play with the grandchildren today. They are great ways to develop the story telling muscles.

Build-a-story

One of our favourites was the build-a-story. In build-a-story, someone starts telling a story, and stops after a paragraph or two. The next person carries on, often taking the story in a completely different direction. I found that when you’re building stories with children, it’s important not to let them name a character after themselves, since a sibling will ensure that character is eaten by a dragon or dissolved in acid at the first possible opportunity, and it all ends in tears.

On the other hand, they quickly learn that what goes round comes round. Any destruction will soon be paid in kind, with interest!

Fortunately, unfortunately

We loved this game. The first person ends their few paragraphs with something disastrous, and the words ‘but fortunately…’

The next person picks up the tale with whatever miraculous intervention saved the day, but ends their part with ‘but unfortunately…’

Or you can mix it up and let each storyteller decide whether they’re going to pass on a happy or an unhappy happenstance.

Made-to-order stories

When the children were tired and likely to fight over story directions, I would tell the stories. But each child could choose one, two, or three objects to have in the story (the more tired I was, the fewer objects). I still do this with the grandchildren. There are rules. I don’t tell stories about other people’s characters (from books, films, or tv). And they can choose nouns, not verbs. That is, they can tell me the objects or people, but I decide what happens to them.

It can be a challenge to weave a story that has a vase, a unicorn, an alien in a spacehelmet, a spiral-bound notebook, a poodle, and a hot-air balloon. But oh the fun!

The letter game

I’ve played the letter game (by email) with two of the older grandchildren. The person who starts invents two characters, a locality, and a reason why the two characters have to write to one another instead of meeting or phoning. This all goes into the first letter. It’s impossible to plan much further than that, since the second person will take the story wherever they want it to go.

Adventures in self-publishing, episode 2

over-the-moonI wrote Candle’s Christmas Chair for several reasons, not least of which was that I wanted to trial the self-publishing tools on a novella before I tried them on the novel, which is more than five times as long.

I also had two other reasons. I wanted to give readers a free chance to find out whether they liked my writing style, in the hopes that will encourage more of them to buy Farewell to Kindness. And I had Candle and Min telling their story inside my head, and writing it down was a way of moving on. Except that telling their story has started me thinking about two more. So much for reason number three.

Many people have Candle (and some have even read it)

Reason number two is working out well. Candle has now been published for three and a half weeks, and I’ve been stunned by how many have been distributed, and by the nice reviews I’ve had. At the time of writing, it’s ranked at number 269 in the Kindle Store for all free books, number 2 for Holiday ebooks, number 4 for Kindle Short Reads 65 to 100 pages, and number 7 for Regency historical romance. Wow! Unbelievable!

I’ve had 20 reviews on Amazon, with a 4.3 star average rating, and 28 ratings on Goodreads with an average of 4.18. And three Goodreads members have added Farewell to their to-read lists.

Many of the distributors don’t report numbers of free books downloaded, but the four that do report a collective total of more than 15,000 downloads. And I’ve invited people to share it. And it has been loaded onto at least three pirate sites that I know of.

Will this reception translate into readers for Rede and Anne’s story when I publish it in April? It remains to be seen, but meanwhile, I’m one very happy novice novelist.

The ebook tools were easy to use, and I’m now trying CreateSpace to produce a print book

So back to reason one.

I found the Amazon Kindle Direct Publishing tool easy to use, and I was happy with the results. Smashwords needed a completely different file setup, but that was fine, too. Their infamous Meat Grinder compilation tool turned my first paragraphs with no indent into unindented paragraphs one point size larger than the rest of the text, but I can live with indented first paragraphs.

I’ve been working on the other possibility today. I’m using CreateSpace to provide a print version of Candle’s Christmas Chair, which I’ll be able to sell at somewhere about US$4.00 (to cover the print costs).

I’ve created an account, laid up and tested the inside, and made a cover. I should be able to publish in the next day or two. Again, it has been relatively easy. This time, I’ll have to wait on international postage to see the results, but I’ll let you know how it turns out.

If all goes well, I’ll be able to offer Farewell to Kindness in print. While I don’t expect to make many print sales and (to keep the price realistic) I’ll need to shave the royalties to the bone, it’s another service to readers.

Now on with the hunt for reviews

I’m very grateful for the reviews and ratings I’ve had. You guys rock. But in the spirit of using Candle as a Kindergarten for Farewell and its successors, I need to get cracking on seeking some feedback from the blog and online magazine reviewers. I have a little list. I need to stop resting on my laurels (and chatting with people on Facebook), and start working my way down it.

Expect me to get very excited it if it works out!

Embracing the darkness

Regency hussarI do enjoy writing villains. I got a fan email yesterday. (Yes; I know. So exciting.) The writer said: “I loved everything except the super vile Lady Norton!!!!… I loved hating her and her brother!” I loved writing her. And I loved creating the villains in Farewell to Kindness, especially the super creepy Baron Carrington, who — as one beta reader said — was so bad that she felt sorry for his nasty, horrible wife.

Now I’m into the second novel, and the villains are just crawling out of my keyboard. What does this say about me? I’m consoling myself with the thought that the darkness is better out than in!

Here’s the scene I wrote on the train this morning, where my heroine has a close encounter of the nasty kind with one of a gang of five so-called gentleman. (Prue is working undercover as housekeeper in the house of a courtesan. Her assailant is a hussar.)

Prue, deciding that discretion was the better part of valour, retreated up the stairs. As she passed the first floor and continued upwards, she heard someone bounding up behind her, and on the next landing, the soldier grabbed her by the waist, spun her around, and shoved her firmly against the wall, trapping her with his body.

Before she could react, he had ripped at her neckline, popping buttons and exposing her corset and the curve of her breasts.

“Well, well,” he said. “You are a delicious little thing, aren’t you?”

Prue managed to keep her voice calm and level. “If you’ll wait downstairs with your friends, Sir, I will let Lord Jonathan know you are here.”

“Oh, let the others wait. I’ve an appetite, and you’ll do to satisfy it.” He was pulling her skirts up as he spoke, and the hard shape pressing into her belly left no doubt about his intentions. “You’ll do very nicely.”

“No, thank you, Sir,” Prue said. “That is not part of my duties.”

“Don’t think about it as duty, little darling. Think about it as pleasure,” then, as she tried to twist sideways to escape him, “No, no, no. Naughty. Keep still or I’ll have to hurt you.”

“Let me go, Sir, or I’ll scream.”

“You think the whore will care? I’ve had her maids before. She growls a bit, but what’s she going to do? Serves her right for teasing us all and only diddling Selby. And that bumptious squirt Gren. She brings it on herself. Now keep still.”

Prue had been keeping her hands flat against the wall, not wanting him to immobilise them. Now she stilled her body as commanded, but let one hand creep carefully towards the cap that covered her hair.

She would need to be quick. He had her skirts bunched almost to the top of her thigh and was fumbling at his pants buttons with his other hand. If he noticed what she was doing… no, he was looking down, focused on the mounds he had exposed..

There. She found the long hat pin, a sharp pointed skewer made to her own specifications for occasions such as this. In one movement, she swept it out of her hair and in an arc, flipping it in her hand on the way, jabbed it point first into his buttocks.

With an eldritch shriek, he let go of her, and she twisted under his arms and retreated up the next flight of stairs, facing him from that vantage point, her weapon at the ready.

“You bitch! You stabbed me!” he shouted.

The weapon he had intended to use on her, disclosed by the unbuttoned flap of his pants, had not yet been discouraged by the sudden attack. She gestured at it with her hat pin.

“One step closer, and this goes into that.”

What do you want in an author newsletter?

promoWhen I first set up the website, I added a newsletter form so that people could subscribe to get special updates — and, sure enough, people are subscribing, especially since the publication of Candle’s Christmas Chair. Soon I’ll have the new cover and some other advance information about Farewell to Kindness, and I’m going to want to send out my first newsletter.

So here’s the question. As a reader, what are you looking for in an author’s newsletter?

I subscribe to several myself, and I know what I don’t like. So far, here are the promises I’ve made myself based on my own experience.

  • I will only send newsletters when I have something worth saying — which is likely to be three or four times a year, and certainly no more than monthly.
  • My newsletters will be focused on giving readers interesting content, not on relentless self-promotion.
  • Newsletter subscribers will hear about new stuff before I release the information publicly.
  • Newsletter subscribers will get stuff nobody else gets.

But what stuff? I have a few ideas, but I’d like to hear from you. Here’s what you’ll see on the sign-up page:

As a subscriber, you will receive advance information about cover designs, book trailers, book blurbs, release dates, and special price periods. You’ll also get exclusive subscriber-only special offers, including articles, short stories, and competitions.

I’m thinking deleted scenes, background information about characters that didn’t make it into a novel, the chance to name a character, answers to readers’ questions.

What are your thoughts? Any help would be gratefully received. Just comment below or send me an email through the contact form.

 

First meeting

LosHombresdJaneAusten_Bingley_Darcy rumbo a LongbournAn excerpt from the draft of Farewell to Kindness:

The Earl hadn’t yet proved the danger she feared, though the longer he stayed the harder it would be to avoid him. Yesterday in the churchyard, she had peeked at him from under her bonnet. She didn’t dare go close, but from a distance he was far better looking than his cousin.

She’d had a nasty moment when Daisy walked right past him, but they didn’t speak and he didn’t seem to pay them any attention after that.

Perhaps he would not be a danger. The villagers were still reserving judgement, but he was earning their cautious approval. The people who had met him spoke well of him. They were thrilled that he visited them, listened to him. After decades of neglect by one Earl after another, they’d have liked him for that alone. His willingness to spend money on long-overdue maintenance won him more points. They were not yet convinced, of course. But the general opinion was that he was more like his Uncle Henry, whom they’d respected, than the previous three Earls.

Her reverie was broken by the clopping of hooves in the lane beyond the wall. Daisy called out, “Good day, Mr Baxter!”

Meg rolled off the wall, her eyes wide in fear, and huddled down into the shadow at its base whimpering a little.

“Miss Daisy,” the rider beyond the wall replied, cheerfully. Young Will, from the sound of it. The land steward’s son, who’d come six weeks ago to take care of the estate when Matthew the elder was injured. Meg was always nervous around men she didn’t know, but young Will had visited before, and had spoken to them several times during this visit. Anne had just concluded that he must have company when another voice spoke.

“Please, Baxter, will you not present me to this beautiful young lady?” The voice was deep and compelling, with a slight rasp that somehow added to its appeal.

“My Lord,” Will began.

“No, no,” the Earl—it must be he—insisted. “Fairy queens take precedence, and surely she must be one?”

Daisy giggled, but straightened her back proudly. So much for keeping her daughter from his sight.

“Miss Daisy, may I present Lord Chirbury? My Lord, Miss Daisy Forsythe, queen of Lilac Cottage.”

“An honour, your Highness,” the Earl said.

Anne snorted at the easy charm. She stopped on the path to pat Meg soothingly, before straightening so she could see over the wall.

The ground dropped on the other side; putting the heads of the two horsemen on a level with Daisy’s. Anne met eyes the image of her daughter’s. His hair was like hers, too—a golden blonde. It was trimmed tightly to his nape, but she knew from seeing him outside the inn and in church that the elegant hat disguised curls.

It was the eyes and general colouring that gave the impression he looked like his cousin. The shape of his face, his generous mouth, his broad shoulders—in all these ways he was somehow more than the former Earl. He had, in some ways, a hard face—even grim. But it didn’t look unkind. If he was not such a threat to her family, she would find him attractive, which had certainly not been the case with George.

“My Lord, Mrs Anne Forsythe. Mrs Forsythe, Stephen Redepenning, Earl of Chirbury.” Will did the honours, adding unnecessarily, “Mrs Forsythe is young Daisy’s Mama.”

“A pleasure to meet you, Mrs Forsythe.”

She bobbed a curtsey. “Lord Chirbury.”

“I hope the other charming young lady I saw is not hurt, Mrs Forsythe?”

“Aunt Meg does not like strange men,” Daisy volunteered.

Meg was still crouched at the foot of the wall, hugging herself. At least she’d stopped whimpering. A pleasant conversation between Anne and the gentlemen might be the best way to calm her down.

“She is very shy,” Anne added. Which was not exactly true, but worked well enough as an explanation. “I apologise, my Lord.”

He smiled, drawing her attention back to that generous mouth. “Not at all. I apologise for startling her. Have your dolls been enjoying their picnic, Queen Daisy?”

Daisy lifted her little chin imperiously. “They are at an assembly, sir. Not at a picnic.”

“You say ‘my Lord’; not sir,” Anne whispered.

“Of course they are,” Lord Chirbury agreed, amusement warming that deep voice. “And a fine assembly it is, I’m sure.”

“It would be better if the kittens had not run off,” Daisy confided. “They was going to be the gentlemen, and now the dolls have to dance with each other, and they are both ladies. Aunt Kitty and Miss Ashbrook dance with each other, but only to practice. When they go to an assembly, they will dance with gentlemen.”

Lord Chirbury’s eyes danced, but his voice remained grave as he agreed with the little girl that ladies preferred to dance with gentlemen when they were at an assembly.

As they continued to talk, Meg slowly uncurled, stretching up till she could peep over the wall. She dropped down again, tugging on Anne’s skirt.

“It is the bad Earl,” she whispered, when Anne bent down to her.

“No darling. It is a different Earl. The bad Earl is dead; remember?”

Meg rose again, burrowing into her sister’s side as she did so. This time, she took a long look. Anne could tell the Earl was aware of her sister’s examination, but—apart from a single flick of his eyes—he kept his attention on Daisy and continued talking to her.

After several long moments, Meg nodded, and relaxed a little, though she didn’t let go of Anne.

“It is a diff’ent Earl,” she agreed.

Now Lord Chirbury looked at Meg, then at Anne, with a question in his eyes.

“Lord Chirbury, may I present my sister Meg, Margaret Haverstock?”

“How do you do, Miss Haverstock? I am sorry I startled you.” How had she thought him grim? He smiled at Meg with the same kindness he’d shown to Daisy.

Meg, however, was anxious again. “Chirbee?” She clutched harder to Anne. “A different Chirbury,” Anne reassured her.

The Earl excused himself graciously, claiming that he and Will were expected elsewhere. Did he leave so that Meg would be comfortable? Surely not. An Earl couldn’t be expected to show such sensitivity. Though the Earl wasn’t at all what Anne expected. She’d never imagined that a ton gentlemen would talk about dolls with a little girl.

Charm and kindness did not make him trustworty, of course, but it certainly made him very appealing.

La Contessa and The Marquis

Lindsay Downs Head Shot_M9A0698-resized smallerToday, I’m trying something new. A fellow member of Historical Romance Addicts, a group I belong to on Facebook, asked me to feature his new release. The following post is taken from his media kit. Welcome, Lindsay Downs.

Lindsay Downs: Thank you very much for having me visit you and your blog to introduce my newest regency cozy mystery series, Rogues and Rakehells Mystery. The first book in the series, La Contessa and The Marquis is currently available for preorder with its release set for Monday, Jan 19, 2015.

La Contessa and The Marquis cover medWhen Bianca Maria Ledford Goretti, La Contessa de Massa, flees back to her homeland and the safety of her godmother, The Duchess of Gorham, little does she realize who’s arms she lands in.

Lord Rainer Cross, Marquis of Hathaway, is a well-known and dangerous rakehell within the ton. Little does he suspect his godmother has set him up to halt his skirt-chasing days.

Over time, the reason for Bianca’s return comes to light, andhas Rainer deeply concerned. Not sure who he can trust, Rainer turns to several of his more interesting staff, having them use their talents to ferret out the truth.

Everything get more complicated when they learn a friend might not be who he claims to be. Not sure who to trust, except Rainer and the duchess, Bianca learns several startling facts that could protect her from harm.

Once everything is revealed, the duchess steps in with a surprise; something neither could have ever seen coming.

The trailer is stunning.

For more about Lindsay, see his website or Facebook page. For more of his books and to preorder La Contessa, see your local Amazon. Here’s a link to Lindsay’s US Amazon page.

Romance novels as literature

ImageQuilt 2015-05-01 at 11.18.08 AMA tweet from Julie Anne Long pointed me in the direction of an article on Penetrating Analysis, and I’ve now subscribed to the blog. In her description of the blog’s intention, blogger Anne N. Bornschien says:

This space is devoted to mass market romance novels as texts worthy of literary consideration. Approaching them both as an avid reader of the genre and as a scholar of literature, I examine the language, structure, and tropes that mark popular romance. In so doing, I hope to dispel some of the stereotypes that contribute to romance’s marginalization and to share the genre with a broader readership.

The specific article is about why romance as a genre is worthy of study. Along with several other important points, Anne says:

The past five years in particular have given rise to a new crop of novelists whose work hinges upon moral and ethical impediments that defy easy solutions. Unlike in romances predicated upon a misunderstanding (e.g., he wrongly suspects her of infidelity, she thinks he only married her for her money), where once all is revealed all is well, these texts place a dilemma at the heart of the story. They put the couple’s interests or the beloved’s interests in opposition to another person, group, or cause that is very near to the protagonist’s heart. These novels demand sacrifice or creativity of their heroes and heroines in order to arrive at the HEA.

Epiphany moments

epiphanyToday we celebrated the Feast of the Epiphany (actually 6 January, but the New Zealand bishops have Sundayised most of the liturgical feasts). Just for fun, I went looking for articles about literary epiphanies. You know. Those moments when the character suddenly realises something that changes their whole life from that point forward; often something that has been obvious to the reader for some time. ‘I love her.’ ‘The man is a villain.’ ‘I shouldn’t be here.’ ‘I’m at the top of the ladder and it is against the wrong wall.’

In Author Magazine, I found a discussion of the difference between epiphanies and character arcs. Epiphanies, the writer says, are:

…moments when a character suddenly realizes something about herself. Those are moments of deep significance in your book because they foreshadow changes in how the character will think and act.

Contrast this to the writer’s definition of a character arc.

A character arc is the cumulative effect of a series of epiphanies.  It’s where the character ends up after multiple experiences of increased self-awareness and personal change.

So epiphanies are used to move a character to self-awareness, and therefore need to be built into the plot from the beginning.

An article in the Atlantic points out that self-awareness is hard to achieve, and the clarity of an epiphany moment is often followed by backsliding.

In other words, these conversion experiences don’t stick—or they don’t stick for very long. Human beings have to be re-educated over and over and over again as we swim upstream against our own irrationalities.

Fiction Notes talks about where to put the epiphany (near, but before, during, or after the climax), and six ways that writers get  the epiphany wrong. Number 4 particularly irritates me in a story.

“I Haven’t Mentioned This Before, But. . . .” An epiphany has to be a natural outgrowth of the story and not tacked on. Instead build in a cause-effect relationship; the stories events cause the epiphany.

And Just about Write explains the difference between epiphany and revelation. The article starts with the reason for having an epiphany.

Fiction yields a transformed character. Let’s face it. If the protagonist hasn’t changed by the end of the story, it will lack the excitement necessary to keep the reader interested. Without that interest, the reader may want to put the book down and walk away, never to take it up again.

Travel times, the growth of London, and other random thoughts

regency horsemenWe live in a shrinking world. When we enter the past as writers and readers, we need to remember that earlier generations did not experience such ease of travel, communication, and transport of goods.

This has caused me some angst, as my character Rede in Farewell to Kindness travelled across Southern England in the climax to the novel, and I somehow missed a day in my calculations. I needed to rewrite several scenes to get him to where he needed to be just too late to stop the villains in their villainy, but in time to be in for the finish.

I have heaps of notes on travel in the early 19th Century. I can tell you how long it took for the mail coach to travel from London to Bath to Bristol, how long the passenger ships took to sail from London to Margate, how many miles a post horse could cover before being replaced, and the average distance a man and a horse could travel in an hour.

Christchurch100 years later, things had changed dramatically. I have a package of letters my grandfather wrote to his siblings as the 19th Century was becoming the 20th. He and his brothers travelled for work (they were builders). In those days in New Zealand, travel beyond the local town was by horse, boat, or train. With no telephones, the men wrote home whenever they were away.

Even so, they had options for travel and communication that were way beyond those available to earlier generations. Until the eighteenth century, travel was slow, difficult, and expensive. Many people spent their entire lives within walking distance of their birthplace, and those who did travel expected to spend days or weeks on the road or possibly months at sea.

The easy mail my grandparent’s generation took for granted was relatively new at the time; the first penny stamp was used only 60 years before the start of the 20th Century. Before that, those outside the peerage had limited access to cheap mail, and often relied on friends and neighbours to carry messages.

West_India_Docks_Microcosm_editedTransport difficulties limited the size of cities. People need to be fed, and perishable food needed to be grown close enough to a city that it could be brought to the markets while it was still usable. Right through history, societies have collapsed when they grew too large for their hinterland to support them.

Shipping was one answer to the problem. The great cities of the past were built on harbours, and until very recently indeed, it was faster to sail from port to port than to travel overland. The trip by sea from London to Edinburgh took between five and nine days in the 18th Century (depending on weather), but travel by land took between 10 days and a fortnight. A seat on a coach cost more than two weeks wages for a skilled tradesman, and the traveller would still have to pay for food and lodgings along the way.

canals liverpool leedsThe Georgians began a revolution in travel with the feverish canal-building of the 18th and early 19th century, which added to the much smaller network of canals built in the 1600s. Suddenly, goods could be transported from Liverpool to London by boat, without risking storms at sea. The great London population of explosion followed. In 1800, London was five miles across, and had a population of a million people. By 1815, the population was 1.4 million. By 1860, over 3 million people lived in London — a growth fuelled by easy movement of goods and people on the railways. And the urban sprawl had began, with people living in the suburbs and working in the city.

railwayIn the same 70 year period, the roads improved, with the introduction of turnpikes providing money and an incentive to apply new road building techniques that could keep up with faster carriages and a greater volume of traffic.

By the time my grandfather was a young man, people could readily travel from town to town around the country and (less readily) from country to country. And the now literate masses could send letters across town in a day and across the world several times a year. The world had grown smaller.

He would find today hard to believe, with cheap world travel within the reach of many, and near-instant around-the-world communication available on cell phones to slum dwellers in India.

It has been a fascinating quarter-millennium. I wonder what’s next?

80 years of Regency romance – a tribute to Georgette Heyer

A gorgeous log designed for the Beau Monde by Mari Christie, who writes Regency novels as Mariane Gabriele

A gorgeous logo designed for the Beau Monde by Mari Christie, who writes Regency novels as Mariane Gabriele

The Beau Monde, the historical fiction chapter of Romance Writers of America, is celebrating and important anniversary this year.

Eighty years ago, in 1935, the very first Regency romance novel went to press. That novel, Regency Buck, was written by Georgette Heyer.

Like many historical romance authors, I was introduced to Regency romance by Georgette Heyer. I own every one of her books (including her mysteries and other historicals – she wrote over 50 books) and I’ve reread them many times. They’re my comfort food when I’m unwell in mind and body. I love her strong-minded females, witty dialogue, and hilarious plot situations.

She conducted meticulous research, though she also had fun inventing slang language and – when the imitators began to copy her – she apparently got a few details wrong on purpose, just to see others follow in her footsteps. Her publisher says:

Georgette Heyer is one of AbeBooks’ top 10 bestselling authors, over the entire history of this company.

Last time we looked, Heyer was behind Shakespeare, C.S. Lewis, Agatha Christie and Stephen King but ahead of J.K. Rowling, Charles Dickens and James Patterson.

The Georgette Heyer fan site says that two of her books have been made into movies (one as a spoof and one in German, but hey). Which leaves plenty of scope for future movie makers.

If it happens, you’ll hear about it first on the Georgette Heyer Facebook page.

Georgette Heyer in 1970

Georgette Heyer in 1970

Here’s a summary of her biography – the start of an extensive Wikipedia article:

Georgette Heyer (16 August 1902 – 4 July 1974) was an English historical romance and detective fiction novelist. Her writing career began in 1921, when she turned a story for her younger brother into the novel The Black Moth. In 1925 Heyer married George Ronald Rougier, a mining engineer. The couple spent several years living in Tanganyika and Macedonia before returning to England in 1929. After her novel These Old Shades became popular despite its release during the General Strike, Heyer determined that publicity was not necessary for good sales. For the rest of her life, she refused to grant interviews, telling a friend: “My private life concerns no one but myself and my family.”[2]

Heyer essentially established the historical romance genre and its subgenre Regency romance. Her Regencies were inspired by Jane Austen, but unlike Austen, who wrote about and for the times in which she lived, Heyer was forced to include copious information about the period so that her readers would understand the setting. To ensure accuracy, Heyer collected reference works and kept detailed notes on all aspects of Regency life. While some critics thought the novels were too detailed, others considered the level of detail to be Heyer’s greatest asset. Her meticulous nature was also evident in her historical novels; Heyer even recreated William the Conqueror’s crossing into England for her novel The Conqueror.

Beginning in 1932, Heyer released one romance novel and one thriller each year. Her husband often provided basic outlines for the plots of her thrillers, leaving Heyer to develop character relationships and dialogue so as to bring the story to life. Although many critics describe Heyer’s detective novels as unoriginal, others such as Nancy Wingate praise them “for their wit and comedy as well as for their well-woven plots”.[3]

Her success was sometimes clouded by problems with tax inspectors and alleged plagiarists. Heyer chose not to file lawsuits against the suspected literary thieves, but tried multiple ways of minimizing her tax liability. Forced to put aside the works she called her “magnum opus” (a trilogy covering the House of Lancaster) to write more commercially successful works, Heyer eventually created a limited liability company to administer the rights to her novels. She was accused several times of providing an overly large salary for herself, and in 1966 she sold the company and the rights to seventeen of her novels to Booker-McConnell. Heyer continued writing until her death in July 1974. At that time, 48 of her novels were still in print; her last book, My Lord John, was published posthumously.