Tea with Charity

Charity Smith waited in the beautiful parlour to which she had been shown. Built to a more human scale than the gargantuan halls and stairways along which the butler had whisked her, the parlour was still rich and elegant, but she sensed that the paintings had been chosen to suit the pleasure of the room’s owner; that the duchess herself had the pretty wallpaper above the carved wainscoting and the plush drapes that picked out the cornflower blue of the wallpaper pattern. The chairs and sofas had been upholstered in darker blues or sea greens; here a floral, there a stripe. And here and there a bold red vase or cushion set off the more muted colours. And gold, or at least gilt, was everywhere: in the frames of paintings, on cupboard doors, inlaid into table tops, gilding the curves of carving.

Above, the same colours repeated in the ornately painted ceiling. This room was a far cry from the humble cottage in which she had been hidden for six years, or the farmhouse in Oxfordshire she shared with two other women and all their children. She stiffened her spine. The Charity of six months ago would have slunk away, intimidated by the gap between her and the woman she was about to meet. But the loss of her reputation, her marriage, and her home had paradoxically taught her her own strength. She would not be returning home without the child.

She stood and curtseyed when the Duchess of Haverford entered the room, unconsciously squaring her shoulders ready to fight. But the duchess surprised her. “Mrs Smith, I am so sorry to have kept you waiting. You must be beside yourself with worry about your dear sister. But I am confident that David will find her, and all will be well in the end. And, of course, you shall take your niece home with you when you go.”

As she spoke, she took a seat and patted the place at her side. “But come and sit down. Take tea with me and tell me about your children. Did you leave them well?”

Charity is the sister of Prudence Virtue, my heroine in Revealed in Mist. This scene happens after the end of Revealed in Mist, and during the events that start Concealed in Shadow. The first (which is a complete romance and thriller plot, and a stand-alone story) is released tomorrow. Follow the links to find out more, or read on for an excerpt.

“Are you sure Mr. Wakefield will not mind?” Charity asked for the hundredth time.

Prue reassured her again. Of course he would not object to her bringing Charity to his town house for a few days. Would he? Weeks of separation had left her yearning for him, but had it given him time for second thoughts? One slightly used spy, no longer in the first flush of youth, and with a secret that would surely give him a disgust of her, if he ever discovered it.

But Mrs. Allen made them welcome and told Prue the mail had brought a letter from David yesterday, saying he and Gren were leaving for London. They should be home tomorrow or the next day. Prue left Charity to settle into the bedroom Mrs. Allen prepared for her, while Prue wrote a note to Lady Georgiana, asking for permission to call.

They had talked it over at length while with Charissa, 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, 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 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 her savings to be frittered away and leave Charity and the girls in a worse situation than before.

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

On one thing Charity was determined: Prue was not to ask Selby to support his daughters until they moved 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. The servants’ pay is several quarters in arrears. 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.

The note sent, Prue went to check that Charity had everything she needed.

Her sister was sitting next to the window in her bedchamber, looking out.

“It is very grand, Prue, is it not? Not your David’s town house, though that is finer than I expected. But the streets, the carriages, the people. We are not even in London here, are we? Not really?”

“This is Chelsea,” Prue told her. “We are not in the City, but nor are we far. What would you like to see while we are here, Charity?”

“I will just stay here, Prue, please, except when we go to visit your friend. I want to make arrangements for somewhere to live, then go and collect the girls to take them to their new home. I miss them so much. Besides, imagine if I bumped into Selby!” Charity shuddered.

Perhaps she was wise, though in a city the size of London, the chances of her meeting Selby were slender.

“I need to go out, Charity. I received a note from the agency.”

Prue had told Charity about the mythical agency that placed her with people who needed temporary staff to fill a particular short-term need, and Charity anxiously grasped Prue’s hand.

“You are not going alone, Prue? Is there a footman you can take to protect you?” She shook her head, dismissing whatever thoughts of assault and robbery had entered them. “How silly of me. You know how to…” She made a vague gesture with one hand. Prue had been teaching Charity a few tricks to save herself from attack, some of which would discourage the most persistent man. Charity had been both repelled and intrigued.

“I will take a hackney, Charity, and my little gun.” And the knife strapped to her calf. And the pins in her hair.

“They will not want to send you away, will they? Oh, I am being so selfish. But Prue, I do not know what I would have done these past weeks without you.”

“I will not leave until you and the girls are safe,” Prue assured her. “If it is a job, I will tell them to find someone else.”

Giveaway for A Baron for Becky launch

 

Prize packageTo celebrate my launch of A Baron for Becky, I’m giving away an eleven-book gift prize, made up of a book from each of my amazing guest authors. I’m also giving Meet the Cast an ebook collection of character interviews, to anyone who asks for it in the comments to this post, and When Fictional Worlds Collide, an ebook collection of co-authored stories, to anyone who is subscribed to my newsletter or who subscribes before midnight EDT on 5 August.

a Rafflecopter giveaway

Anne Stenhouse and Daisy’s Dilemma

Jude, I’m delighted to be visiting your blog so far away in geographic terms and here in electronic ones, on publication day. If any of your readers wish to leave a comment saying why they’d like a copy of Daisy’s Dilemma, then I’ll select a lucky winner from their number at the end of today’s launch celebrations. Daisy’s Dilemma is e-reader only, but most formats are available.

Anne Stenhouse writes dialogue rich historical romance with humour and a touch of thematic mystery from her Edinburgh home which she shares with her dancing partner husband.

Daisy’s Dilemma – released today, 16 June

There’s an excerpt below in the questions, here’s the blurb:

Daisys Dilemmal 300dpiLady Daisy Mellon should be ecstatic when her brother, the earl, allows Mr. John Brent to propose. She’s been plotting their marriage for two years. However, she is surprised to find herself underwhelmed and blames their distant cousin, Reuben, for unsettling her.

In the turmoil caused by the earl’s impending wedding, it becomes obvious that there is a hidden enemy within the family. Tensions rise as the great house in London’s Grosvenor Square fills with relatives.

Reuben Longreach wonders whether the earl understands the first thing about Daisy’s nature and her need for a life with more drama than the Season allows. It’s abundantly clear to him that Daisy and John are not suited, but the minx accepts his proposal nonetheless.

Meanwhile Daisy hatches a plan to attach Reuben to her beautiful, beleaguered Scots cousin, Elspeth. Little does she know that Elspeth is the focus of a more sinister plot that threatens Daisy too.

Will Reuben be able to thwart the forces surrounding Daisy before she is irretrievably tied to John? Will Daisy find the maturity to recognise her dilemma may be of her own making before it’s too late?

 

Buy links

Daisy’s Dilemma from Amazon UK  * Kobo  * Amazon ca *  Amazon au * Amazon US * Amazon NZ

Social media links

Novels Now blog

Facebook

 

An interview with Anne Stenhouse

  1. When did you begin to write, and why?

100_4686Most writers will say they’ve always written or at the very least they’ve always been story tellers. I think that’s true of me. I remember having a lovely time at a school camp holding the entire dormitory in my fictional hands as I spun an oral tale about something or other. Can’t remember at this distance in time what it was. I do remember the power and pleasure of the silences and the sudden bursts of laughter or deep collective sighs. I’ve always enjoyed crafting the written word for speech and I suppose that’s why I enjoyed writing plays. I could say I think in conversations as I replay the day’s encounters and change them over and over. And now – novels like Daisy’s Dilemma in which I let rip with the dialogue.

I do think speech and the things we do while speaking create wonderfully dramatic scenes and I hope there are a few in all my books that take readers back whenever they see one of the titles come up. Of course it’s impossible to really know how they spoke in the early nineteenth century, but it’s good fun using appropriate vocabulary words and adding lots of ‘ma’ams’ and ‘your lordships’. I’m also not averse to a bit of inversion – of speech and grammatical patterns.

  1. Why do you write in your chosen genre or genres?

I write ROMANCE because that’s the intense one-to-one relationship I’m most interested in. I may read detective fiction, but I don’t enjoy thrillers where the central relationship, hunter and hunted, is of necessity warped. This is not to say I don’t craft villains whose interest in either the Hero or Heroine might be unhealthy. I do and my villain, Sir Lucas Wellwood, in Mariah’s Marriage, remains one of my favourite created characters. Mariah’s Marriage was my debut novel and Lady Daisy of Daisy’s Dilemma, began life there.

So that might explain romance, why historical? Like many girls, I spent my teenage years reading copiously. In my case, I devoured Jean Plaidy, although today I can’t stand Tudor history and apart from the wonderful Bess of Hardwick, give them all a wide berth. Then came Jane. Austen, of course. Her work is penned at that moment when English became the modern language I recognise. The world she knew was changing so much and so fast. Women were poised to begin the fight for recognition as people, not adjuncts.

Georgette Heyer was next and I have a hardback collection. So, once you run out of the favourites – you need to roll up the sleeves and create your own.

  1. Do you base any of your characters on real people?

Not consciously, no. However, I was approached by the clever fundraisers of St John’s Church in Edinburgh to donate the chance to be a named character in my next book. I agreed and two chances were put forward. So, look out for the Edinburgh neighbour and the Edinburgh family’s coachman in Daisy’s Dilemma.

Basing characters on real people who are alive is a no-no these days. I think in times past writers had a lot of fun, mostly harmless, picking up foibles and simply changing a letter or two in either the first or second name. I’m sure some of them also settled a few scores. Personally, I need to craft. I may recognise a person whose life really needs artistic recognition, but they won’t be interesting enough if you simple put their character traits down on paper. You need to dig a little, embroider a little (for farce, a lot) and make them not just interesting oddities, but compellingly interesting oddities.

  1. What’s your favourite scene and why?

My favourite scene in Daisy’s Dilemma comes near the beginning of the novel and shortly after those Edinburgh relatives mentioned above arrive in the great London townhouse of Daisy’s brother, the Earl of Mellon. Daisy’s older cousin, Elspeth Howie arrives and her appearance, in dowdy tweed and acres of shawls, appals Daisy. But, she is bred to be a hostess and a hostess never makes her guest feel out of place or uncomfortable. Here’s a wee taster:

Daisy’s dilemma, Anne Stenhouse, editor Judy Roth

“Stephens, can someone assist Miss Howie.”

“Don’t worry about me, Lady Daisy,” the girl said, but relinquished a leather grip, two books, a stone hot water pig and a paper wrapper that looked to hold the remains of some bread, when the butler came closer. Daisy watched in fascinated horror while Stephens transferred the haul to a footman. She heard a step coming smartly along the garden passage behind her, Reuben, and saw the smile light Elspeth’s violet eyes when she recognised him.

“Why, it’s cousin Reuben.” Elspeth unwound a shawl from her shoulders and another from around her waist. She allowed a maid to catch them as they slid floor-wards. “I didn’t know you were staying, too.”

Reuben surged forward and enveloped Elspeth. Daisy, surprised by this show of intimacy, stepped aside. When had they met, she wondered. How had they come to know each other so well that a polite bow and curtsey was by-passed in favour of this warmth?

****

We’ll leave them there for the moment.