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Sunday retrospective

timetravelIn the last half of November in 2014, I was sent Farewell to Kindness off to beta readers and began writing Candle’s Christmas Chair.

The Epilogue to Farewell to Kindness threw me a curve ball that took me more than nine months to find in the bushes. I lost the heroine of what was then still called Encouraging Prudence. (And figuring out what my characters were trying to tell me has turned that book into two: Prudence in Love, and Prudence in Peril.) In ‘When you break eggs make omelettes’, I posted about the conundrum of stories that escape their author, with a long quote from Juliet Marillier.

I posted about happy endings, agreeing with those who criticise them as unrealistic, and pointing out:

The critics are, of course, quite right. Happy endings do not happen in reality. And neither do sad endings. In fact, endings of any kind are a totally artificial construct. My personal story didn’t begin with my conception; my conception was simply an event in the story of my parents, and my story is an integral part of that. Nor will it end at my death. What I’ve made (children, garden, quilts, books) will carry on after me.

Whenever we write and whatever we write, we impose an artificial structure on reality. We choose a point and call that the beginning. And we choose another point and call that the end.

My post about psalm singers might be worth a look. They played an important role in the communities of the 18th and early 19th century, and in my novel Farewell to Kindness. I give a bit of history and a couple of YouTube clips of songs as they might have sung them (one psalm and one considerably more secular).

‘How to tell what novel you are in’ was a link and quotes from a series of Toast posts, including How to tell whether you’re in a Regency novel, and How to tell whether you are in novels by a number of other authors. A sample?

7. A gentleman of your acquaintance once addressed you by your Christian name as he brushed his fingers against the lace filigree of your fichu. You still blush at the recollection.

And in my last post for November, I talked about the cycle of the liturgical year, and how earlier times fitted this cycle to the rhythms of the season and the demands of agriculture. Before most people were driven from the land and commerce began to rule over piety, church holy days meant holidays. And even into the late Georgian, the week long feast of Whitsuntide remained.

In Farewell to Kindness, the action of a third of the novel happens before the backdrop ofWhitsunweek (also known as Whitsuntide).

Carl Spitzweg - Das PicknickApart from walks, fairs, picnics, horse races and other activities, the week was known for the brewing of the Whitsunale. This was a church fundraising activity–the church wardens would take subscriptions, create a brew, and sell or distribute it during the week of Whitsuntide. It has a certain appeal. It would certainly be a change from cake stalls and sausage sizzles!

Whitsunweek was the week following the Feast of Pentecost (WhitSunday), and seems to have been the only week-long medieval holiday to survive into early modern times. It usually fell after sheep shearing and before harvest, and it was a week of village festivities and celebrations.

 

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What went wrong in WIP Wednesday

What could possibly go wrong?

What could possibly go wrong?

And I didn’t choose the title of this post to acknowledge that it isn’t even Wednesday. Today, I’m using a writing tip as my starting point for the day’s theme.

When writing, don’t ask yourself what happens; ask yourself what goes wrong.

If nothing goes wrong, there isn’t a plot, and every plot is a series of obstacles, external or internal, between the protagonists and their goals.

So please share a few lines in your WIP where things seem to be going as they should but suddenly turn pear-shaped.

My excerpt is from the second book in The Golden Redepennings series, A Raging Madness. Alex and Eleanor have stopped in a village so that Alex (who has large chunks of shrapnel floating around in his thigh) can rest and Eleanor can go through the worst of the withdrawal from the opiates her horrible relatives have been forcing down her throat. But Alex has just met someone that Ella knows; someone who believes her brother-in-law’s claims that she is insane. Note that Alex, a product of his time, tries to avoid a direct lie.

Ella sat at the table under the window, where she could peer around the curtain at the garden without being seen. No rector yet. Down below, Alex had moved her chair so he could watch the path from the house. He was eating her toast, and drinking tea from the cup Jonno had poured her. After a moment’s hesitation, she lifted the window, just slightly. There. If they talked in the garden, she would hear the whole conversation.

She flinched at the sound of the door knocker, and fought the urge to run across to the other side of the house to see who was calling.

“See who that is, Jonno, would you, since our landlady is out?” Alex said calmly, and he had buttered and jammed another slice of toast before Jonno ushered two men out into the garden. Yes. The rector, and the other must be his friend, the local vicar.

From this angle, she could see Alex’s face, but not the rector’s. She could hear their voices, though.

“So! You are this Mr Reid. What are you playing at, Redepenning, and what have you done with poor Lady Melville?”

At the last question, Alex, whose eyes had been twinkling, sobered. “Lady Melville? She is still missing then? Surely you do not think I…?” He stood suddenly, looking so affronted that the rector took a step back. “Rector, I must protest. What sort of a gentleman would take advantage of a woman of frail mental capacity? I am not such a villain!”

He subsided back into his chair, waving the piece of toast he still held at the other seating around the table. “You will excuse me; the walk tired my leg. Please. Take a seat, gentlemen. Can my servant fetch you tea? I regret that our landlady is from home, but I would happily convey a message.”

The vicar sat, while the rector remained standing. “Mr Reid, or is it Major Redepenning…?”

“Mr Redepenning, in fact. I have sold out, sir, because of my injury. But I beg you to keep my true name a secret. A lady’s reputation, you know, though I am embarrassed to discuss such a matter with a man of God.”

The rector sat then, and rushed into speech, leaning towards Alex in his urgency. “Yes. Well that is the point, is it not? This so called lady; this Mrs Reid. If she is not Lady Melville, who is she? Eh? Who is she? That is the point.”

Alex, amusement lighting his face, said, “Jonno, is Mrs Reid still off on her walk?” He dropped his voice, confidingly. “You would be reassured if you could meet the lady, gentlemen, though I do not suppose she would be pleased with that solution. Alas, I fear I have been a disappointment to her. Hence the walk! And last time she lost her temper, I did not see her for months. Still, you are welcome to wait. I am sure she will return.”

He dropped his voice, and Ella had to strain to hear him. “She is not happy about her condition,” he confided. “Well. And one cannot blame her, of course.”

“Her condition?” The rector seized on the words. “She is ill?”

“Oh yes,” Alex confirmed. “That is why we stopped in this village. The motion of the carriage… One hopes the child is her husband’s, distressing though the thought is. It would be most unfortunate were it born with fair hair like mine. Or the Redepenning blue eyes. That would be hard for a husband to overlook, do you not think?”

“Sir!” The vicar rose to his feet, almost spitting with shock and horror. “I take leave to tell you, sir, that you are a despicable cad.”

(And yes. I’ve been missing my usual WIP Wednesday posts because things went wrong. But hey. Life.)

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What’s in a name?

6269185_f520

Book titles matter. A rose by any other name, Juliet claimed, would smell as sweet, but would people be as willing to put their noses close if it were called Skunkstink, or Fartflower? And titles bother me.

Sometimes, a title will occur immediately, surfacing from the interior of my brain without any effort on my part. Gingerbread Bride was like that. As soon as we came up with the concept of runaway brides for the Bluestocking Belles 2015 holiday box set, the title and the basic story appeared in my mind.

Sometimes, I’ll come up with a concept for a series, then have to find titles that will fit. All the titles for novels in The Golden Redepennings series are excerpts from quotes. Farewell to Kindness comes from The Count of Monte Cristo.

“And now…farewell to kindness, humanity and gratitude. I have substituted myself for Providence in rewarding the good; may the God of vengeance now yield me His place to punish the wicked.”

The one I’m working on now is called A Raging Madness, which comes from a quote by French philosopher Francois de La Rochefoucauld.

“…envy is a raging madness that cannot bear the wealth or fortune of others.”

Do these fulfill the criteria that Tucker Max lists in How to Title a Book The Right Way?
  1. Attention Grabbing
  2. Memorable
  3. Informative (gives idea of what book is about)
  4. Easy to say
  5. Not embarrassing or problematic for someone to say aloud to their friends

You tell me.

I’ve been fretting over two other titles, both books I’ve just finished.

The novel I have just received back from beta readers has been Seeking Prudence, Encouraging Prudence, and most recently Embracing Prudence. And it is part of a series loosely known as The Virtue Sisters. The other books would include a sequel to the current one, and also a book for each of Prudence Virtue’s sisters, Hope, Faith, and Charity. And all my titles are pretty blah.

After talking to friends and thinking—a lot—I’m leaning to the series titleThe Wages of Virtue.

The individual books would be Firstname in Something.

So either Prudence in Love followed by Prudence in Peril or Prudence in Desire followed by Prudence in Danger.

If we go with the ‘d’ words, we’d have Hope in Despair, Faith in Decline, and Charity in Doubt.

Otherwise, I’m sticking with Hope in Despair, but I might go for Faith in Jeopardy and Charity in Tribulation.

The novella is an entirely different matter! Tentatively entitled The Bluestocking and the Barbarian, which at least means what you see is what you get, it is again the first of a series. What to do, what to do?

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Babies and children on WIP Wednesday

29e344e7e89a24d7c75d422b5a5b5aedPerhaps because I’m a mother and a grandmother, I tend to have children in my novels. Such were the times, that an author can easily write a story without ever including scenes with children, leaving them safely out of sight and out of mind in the nursery or schoolroom — but I like them.

So, with apologies to those who can’t play, this week’s work-in-progress Wednesday is looking for the little people. Post me an extract with the child or baby in your work-in-progress (or published novel, if your current WIP doesn’t have any).

Here’s mine, having breakfast after an eventful night.

Aldridge watched Antonia eat.

Gren was sitting beside her eating bacon, eggs, and toast as if he had been starved for months, and it was to him that Antonia addressed the question.

“Uncle Gren, why does He keep looking at me?” The initial capital was audible. “Is he my uncle too, like you and Uncle David?” Gren stopped, a fork halfway to his mouth. He put it down while he considered the question, looking from Prue to Aldridge.

It was Aldridge who answered. “Yes, Antonia. I am your uncle.”

She slipped from her chair and gave him a polite curtsey. “I am pleased to make your ’quaintance, Uncle. How do you do?”

He bowed, gravely. “I am well, thank you, Miss Virtue. How do you do?”

Antonia considered this. “I am sad to be leaving my chickens and my pondering tree, but I think the journey will be a very great a’venture. We are travelling a long way and will have a new home where people do not call names, Auntie Charity says. And it is closer for Mama to visit, Mama says.”

“Sit and eat your breakfast, child,” Charity told her. “Lord Aldridge says we must leave soon.”

Aldridge accepted a loaded plate from Cook and took it to sit on the other side of Antonia. Soon, they were engaged in low-voiced conversation. The Aldridge charm, Prue noted, worked as well on six-year-olds as it did on grown-up females.

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A Baron for Becky long-listed for a RONE Award

RONE Award smallI’ve been missing in action with work and family commitments, but normal service will resume tomorrow with a WIP Wednesday.

I’m popping in today to tell you my exciting news. A Baron for Becky is on the long list for a RONE Award. The RONES are run by the In’D’Tale Magazine, who reviewed A Baron for Becky last year.

I was thrilled with the four-star rating they gave the book at the time; the magazine’s reviewers are parsimonious with their fours and fives. But I did not realise that a four or five star rating put you on the list for the RONES. So A Baron for Becky is one of thirty-five books, out of the hundreds of historical romances they reviewed, to go through to the next round of judging.

Next step is reader voting. In the week 23 May to 29 May, readers will be asked to vote for their favourites. I’m up against tough competition, including Mariana Gabrielle’s La Deésse Noire: The Black Goddess and Caroline Warfield’s Dangerous Weakness (she smugly notes that nearly 10% of the long list are by Bluestocking Belles—as was one of last year’s finalists).

The top rating books from that round go to the final judges, and they will decide the category winner, to be announced at the In’D’Tale Conference in October.

So it is all very exciting.

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Proposals on WIP Wednesday

I’m posting a proposal scene today. The lady in question is the heroine of Never Kiss a Toad, the book I am cowriting with Mari Christie, who writes historical romance as Mariana Gabrielle and who is a colleague of mine in the Bluestocking Belles. Sally is Lady Sarah Grenford, only daughter of the Duke of Haverford, who you may know as the Marquis of Aldridge. The man tendering the proposal is the novel’s villain.

Post your proposals, folks. I’d love to read them. And don’t forget to share!

c399bc77cf3488d42d075b56376e52c4“I think that funeral-faced wine merchant’s son wants to propose, Sally,” Etcetera told her. “Shall I make an excuse to leave the two of you alone?”

“Do not dare,” Sally warned. “I will make your life hell if you do.”

The genial giant pose slipped briefly, and it was the Nordic warrior who asked, “Do I need to break his neck for you, cousin?”

“Just do not leave me alone with him, Etcetera. I do not like the man, and I do not trust him.”

But in the week leaving up to Christmas, Crowhurst behaved like a gentleman, apart from frequent florid compliments and a tendency to treat any opinions she offered in conversation with patronising amusement. Though if those two behaviours were not gentlemanly, there were few true gentlemen in Society.

So when he found her alone in Command Central on the day before Christmas, she merely greeted him and asked him to put his finger on the ribbon that she was attempting to make into a bow. All her usual helpers were off about the great house on decorating tasks or out with Elf and Uncle James who were captaining the Yule log team. Yule logs, in fact, since no fewer than three would burn from this evening until Twelfth night: one in the chief parlour, one in the Great Hall, and one in the ballroom.

Even Etcetera had deserted her, since his mother and father, the Archduchess of Erzherzog and her consort, had arrived with their younger children.

“What are you making?” Crowhurst asked, though the bunches of mistletoe berries carefully bound among the silk ribbons and paper flowers should have made it obvious.

“We were short one kissing bough,” Sally told him. “I am remedying the defect. It is to go in Grandmama’s drawing room, so I want it to be particularly lovely.” She frowned at the bough, trying to visualise it in place. “I think it is nearly done.” She had chosen ribbons of a deep turquoise blue and a delicate pale green, and flowers in gilt paper and a softer cream tissue, all woven together on the white-washed bough with silver cords.

“I wish to just attach these glass baubles to catch the light.” They were the latest fashion—blown glass fashioned into little ornaments intended to be displayed on Christmas trees after the German fashion the royal family had adopted.

“Yes, very nice. But if it needs to be special, perhaps you should wait until one of your usual helpers returns, Lady Sarah. I am sure they would be better qualified to advise you than I.” Crowhurst’s little huff of laughter was self-deprecating.

“I am not expecting any of them for an age,” Sally said, most of her focus on binding the baubles so they were firmly attached and displayed to best advantage. “I will be finished in a moment, and then, if you are not otherwise occupied, Mr Crowhurst, perhaps you could give me a hand to carry it to Grandmama’s parlour while she is occupied with Aunt Margarete and Uncle Jonathan.”

“The Arch-Duchess,” Crowhurst said, as if he were checking which Aunt Margarete she meant, “and your father’s brother. They have arrived then?”

“Yes, thereby depriving me of all those not off somewhere decorating or out with Uncle James. You did not wish to go out with the duke to bring in the Yule log, Mr Crowhurst? There!” She sat back, satisfied with her work, and at the next moment startled to her feet as Crowhurst suddenly fell to one knee.

“Lady Sarah, I can remain silent no longer,” he declaimed.

“Please, Mr Crowhurst, do not continue.”

Crowhurst ignored her. “I am inflamed by your beauty, your charm, your wit, and I flatter myself that you are not indifferent to me. Lady Sarah, dare I hope you will favour me with your hand?”

The pompous ass. She had done everything she politely could to discourage the man. Impoliteness, then. “No, Mr Crowhurst, I will not.” Never mind that nonsense about being conscious of the honour and so on. It was not an honour at all to be desired for one’s prominent relatives and one’s fifty thousand pounds a year.

Crowhurst surged to his feet and wrapped both arms around her, pulling her tight against his body. “No need to be shy with me, sweet dove. I know you want me as much as I want you.” Sally, one arm trapped, tried to push him away with the other, but he was much larger and stronger and would not release her.

“Let me go this instant! What has got into you?”

“You have, tempting heart-breaker. Your teasing has driven me beyond manners. I am crazed by you, unkind Angel. You must be mine.” He had captured the hand with which she had tried to claw his eyes, forcing it behind her back until he could grasp both her wrists in one hand, pulling her tight against his body. He laughed when she struggled. “That’s right, little treasure. Wriggle against me. Did Abersham leave you the innocent you seem, I wonder? Shall we find out?”

Fear was rapidly winning over fury. She could scream, but no one would hear.

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Scandal on WIP Wednesday

Horse and riderBy 1 May, I need to have finished the first draft of my novella for the Bluestocking Belles’ next holiday box set. I’ve made a start, posted below. The story (The Bluestocking and the Barbarian) features a hero whose very existence, let alone his courtship, is a scandal to the English ton.

So post me an excerpt about scandal, and share with us all.

“Limp,” James Winderfield said to his horse. “Limp, my lovely, my treasure, my Jewel of the Mountains.”

Seistan obeyed his master’s hand signals, and limped heavily as they turned through the gates of the manor, and began the long trek along the dyke that led between extensive water gardens to where Lady Sophia Belvoir was attending a house party.

In his mind, James was measuring his reasons for being here against his reasons for staying away.

His father had commanded him to marry before his grandfather the duke died of the disease that consumed him, and Lady Sophia was the other half of his soul. He had felt the connection on his third day in England, when they first met, and nothing since had changed his mind. Surely he was not imagining that she felt it too?

On the other hand, Lady Sophia’s brother had threatened to beat him like a dog if he approached either of the Belvoir ladies. The house was owned by his father’s greatest enemy: the man who was challenging James’ legitimacy in the House of Lords. The party would be full of aristocrats and their hangers on, ignoring him until they found out whether he was a future duke or merely the half-breed bastard of one. And Lady Sophia had told him that neither she nor her sister Felicity wished to speak to him.

Her eyes spoke for her, though, finding him as soon as he entered a room, and following him until he left. Blue-grey eyes that veiled themselves when he caught them watching, in the longest soft brown lashes he had ever seen. She was not, as these English measured things, a beauty: her arched nose and firm chin too definite for their pale standards, her frame too long and too slender. They preferred dolls, like her sister, and Sophia was no doll.

The family needed him to marry a strong woman, one with family ties to half the peerage of this land they somehow belonged to, though he had first seen it four months ago; one who was English beyond question and English nobility to her fingertips.

James needed to marry Sophia. When their eyes first met, as he handed her the child he’d rescued from the path of a racing curricle, the shock of their connection had nearly knocked him from his horse. Him. Who had been riding before he was weaned! And then to find she had all the connections his family could desire! Surely their love was fated?

The house came into view—a great brick edifice rising four stories above the gardens, and glittering with windows. Nothing could be less like the mountain eerie in which he had been raised, but he squared his shoulders and kept walking, soothing Seisten who reacted to his master’s hesitation with a nervous sideways shuffle.

“Hush, my Wind of the North. We belong here, now. What can they do, after all?”

Beat him and cast him out, but from what he’d heard of the Duchess of Haverford, that was unlikely to happen.

“It is, after all,” he reminded his horse with a brief laugh, “the season of goodwill.”

The stables were off to one side, on a separate island to the main house. At the fork in the carriage way, James hesitated, tempted to take Seistan and see him cared for before chancing his luck at the house. If they invited him in, he would need to leave his horse to the servants while he consolidated his position.

But if they turned him away, he might need to remove himself at speed, Seistan’s limp disappearing as fast as it appeared. Besides, in the Turkenstan mountains as in England, one did not treat a private home as a caravanserai. He must be sure of his welcome before he took advantage of their stables.

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Sunday retrospective

steampunk-eye1The middle week of November 2014 was all about the edit.

I posted when I decided to kill one of my favourite characters.

I wrote several posts about editing:

I also wrote a post about heat-ratings. Both more and less sex than people expect seems to upset people. What is an author to do?

And I referred readers to a nice post from Danielle Hanna, about using lists and careful analysis in developing your characters and your plots.

And on the day I finished the draft for the beta readers, I wrote a post on beta readers

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Brothers or sisters on WIP Wednesday

d78ec673dec2a74d62d4bed3f8dd7badAll of a character’s intimate interactions can help to display or develop character, and in some ways no one knows you better or can more easily push your buttons than your brothers and sisters (or cousins or other close relations that you grew up with.

In this week’s WIP Wednesday, I’m looking for an excerpt that shows your related characters in a scene where we learn something about them because of what they think or how they behave.

They had talked it over at length while still staying with Charlotte, and in the carriage on the way from Essex. At inordinate length.

Charity could not, would not stay in Selby’s cottage. She would go somewhere she was not known, and introduce herself as a widow, using another name. Mrs Smith, she said, for who was to find one Mrs Smith among thousands?

But how she and the children were to live was a problem. Prue would help, of course. She could double the allowance she was paying for Antonia’s care, would triple it if Charity would allow. Tolliver’s work paid well enough, and she had a little set aside.

Charity wanted to borrow Prue’s nest egg. She had some idea of setting up a milliner’s shop. Not in London, but somewhere that was cheaper to live and safer for the children. “Even you said I make beautiful hats, Prue,” she argued.

True enough, but running a business required more than an eye for fashion and an artistic touch with a needle. Prue didn’t want to see her savings disappear and leave Charity and the girls in a worse case than before.

“We need somewhere for you and the children while we think about how best to make your plan work,” she told Charity. “I know a lady who supports women in trouble such as yours. She may have a place.” Or she may never wish to speak to Prue again, in which case they would have to think of something else.

One thing Charity was determined on; Prue was not to ask Selby to support his daughters until they were somewhere he could not find them. “It is not as if he is going to give us any money, anyway, Prue. He barely gave us a thing when I thought I was his wife. Just a few pounds now and again when he visited. He paid the servants directly and is several quarters in arrears, Prue. Oh dear. Should I not pay them before I let them go?” Another problem for her to worry at until Prue was ready to leap screaming from the carriage with her hands over her ears.

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You cannot always choose both

choicesMy usual answer when I’m asked to make a choice between two good things is ‘yes’. Would you like chocolate cake or banana muffins? Yes. Would you prefer to have a bath or watch tv? Yes. Do you want to dance or have a glass of wine? Yes.

And this last two years, since I’ve started writing fiction for publication, I’ve been piling on the ‘boths’. I figure I have four lives, any one of which could be full time: writing fiction, a full-time day job, family and friends (including some fairly demanding responsibilities as an arms-length care giver), and then a whole mix of community activities I’m involved in.

It is interesting, sometimes thrilling, and mostly a lot of fun. But there’s no room for anything else. With a couple of health and family crises simmering since November, somethings had to give. I’m two months behind the frequently revised date for my draft of Embracing Prudence. And my marketing activity is way, way down, as shown by my book sales figures.

Thinking about priorities

I had a wake-up call, recently. I read a published book by a writer I admire, and it sounded to me like a first draft. Lots of long sequences of backstory, telling rather than showing, some odd sequencing stuff. And I think I know why.

Publish a book every three months, received wisdom says, and then live in the marketplace telling people about it. The pressure is on to rush to get stuff to the publisher or (in the case of us independent publishers) to get it on the bookshelf. And the time isn’t there to make it as close to perfect as we can.

I am not playing that game. I want every book to be better than the last. Because I don’t like doing the same thing over and over, I may not always please the same readers, but I need to know that at least I’m improving my grasp of the craft of writing.

Here are my priorities, more or less in order.

  1. to deepen my relationship with God
  2. to look after my family
  3. to stay healthy
  4. to give my employer my best attention and commitment during working hours until the mortgage is paid and I can retire and write fiction as my full-time job
  5. to write books I am happy to put my name on
  6. to share those books with readers.

So writing comes ahead of marketing

When the squeeze is on, as it has been over the past four months, in future I’m choosing writing over marketing. Maybe this means that I’ll have another two years of adequate but not spectacular sales. (My author rank at Amazon generally sits somewhere in the 20,000–25,000 bracket. To put that in perspective, I’m not millionth, but each step from here is tightly fought, and I won’t be anywhere near making even a modest living till I’m up around 10,000th.)

In two years, when the mortgage is paid, I might be able to spend more time thinking about how to get my print books into libraries and book shops, and which review sites and other gate keepers might be persuaded to take a look. Meanwhile, I’m in the writing cave. I’ll pop out to play with my friends. Yes, and to do a bit of marketing, too, when I have time. But my priority is going to be the books.

What’s next from Jude Knight?

I’ve recently been project manager for the Belles on the Combined 2015 Editions of the Teatime Tattler, published last week. Click on the title to find out about it, and to get your copy while it is still free.

While you’re there, check out our previous box set, Mistletoe, Marriage and Mayhem. We’re removing it from publication on 31 March, so get it now for only 99c, all proceeds to the Malala Fund. After 1 April, we’ll each publish our own novella. I’m targeting 8 May with my Gingerbread Bride, which is about Rick Redepenning and his courtship of Mary, seven years before the events in my novel Farewell to Kindness.

Before the end of June, I plan to publish Embracing Prudence. That’s pretty tight, since I’m only halfway through the beta edit, so it may slip (once more), but no later than July.

I’ve made a good start on A Raging Madness. I’m 12,000 words in, and I have the rough plan for the rest mapped out. I expect to publish before the end of the year, possibly as early as September.

I have a 1 May deadline for the novella for the next Bluestocking Belles holiday box set, which has a house party theme. All our novellas have their lives affected in one way or another by the festivities at Hollystone Hall. The venue has its own Facebook page, where we’re posting character sketches and scenery on our way to publication on 1 November. My contribution is titled The Bluestocking and the Barbarian.

And Mariana Gabrielle and I are cowriting a novel that ambushed us when we were thinking about something else. We haven’t set a publication date for Never Kiss a Toad, but watch this space.