Showing posts with label Regency Romance Novels. Show all posts
Showing posts with label Regency Romance Novels. Show all posts

Tuesday, 19 March 2019

Jane Austen Book Awards!

What can one say, but Thank You to the Jane Austen judges: sincere thanks.

Speeches are just not me...  

I hate award ceremonies and all that overt gushing and full-on bluster. Besides, other than Pat Jackson my editor, who has admitted time and again at having forgotten to edit because he became so immersed in the story, which is a morale boost in itself.  But, I am for the rest of the process entirely alone in formatting for e-book and paperback editions, and the painting of my own covers.  
So that's it, me...
Now I'll get off the stage and get on with the rest of the show.








And.... I'm in good company on second award!





Monday, 20 August 2018

Jane Austen's Meryton - where was it?

Before I pose the theory Jane Austen did as many authors do today, and indeed shuffled the location of Meryton and Longbourn, thus placing it a county removed, she probably did so out of politesse to relatives and friends. After all, she had numerous connections within Berkshire, not least the Leigh side of the family. She also attended a boarding school in Reading, which was markedly different than Reading of today. She no doubt made friends, some better liked than others, a quite natural consequence of boarding establishments. It was known she was fond of Windsor and Wargrave, and Windsor itself was markedly different in her day. It was much smaller and rural in extremes, aside from the castle, as were other well known market towns and villages once situated outside London and now part of Greater London. Jane was an intrepid traveller as can be seen from reading her letters, and the distance between Reading, Wargrave, and Windsor pretty much traverses Berkshire. So with that in mind, hold that thought...   



This water colour of Jane Austen was painted by her sister, Cassandra. That much we do know!



But, there are several portraits purportedly that of Jane Austen, and not one of those portraits can truly be verified with absolute surety they are that of Jane Austen. I suppose desire to see the lady's face probably inspired artists to create impressions from descriptions, and while it may seem odd to us that there is no definitive record or extensive collection of Austen family portraits thus depicting Jane and Cassandra, one has to remember portraits were jolly expensive items in her day.       

Nonetheless she has become the most admired lady authoress of contemporary fiction - yes contemporary novels set within, and penned within her own lifetime. One can only ponder what Jane would have felt if she had become as popular in her own lifetime as has been her latter literary fortune since the mid 20th century and now into the 21st century, therefore, does not the word "ecstatic" leap to mind?   
Press images to see full size.

The original Lambourne House had Stuart connections - so what did Jane think of it? 

Now to the teaser questions that have puzzled Jane Austen fans for simply ages:

a) where is Meryton and where is Longbourn situated? 
b) was it wholly fictional, or did such a place exist in her time? 
c) did she change the name to disguise the places mentioned


This is a house once situated near Bath but no longer exists, and it was two counties distant to Berkshire, but Jane probably looked upon it with some regularity when passing by on her way to or from Bath. So much of old England is gone, the landscape changed from the days of the Georgian period, but as authors today search for houses and interiors suitable for depicting the lifestyle of fictional characters, Jane probably utilised those of which she was already familiar, or those she could only admire from a distance but readily suited to her fictional families.    

Rather than beat round bushes and lengthen suspension, or mayhap stir disbelief, I'll come out and say it, for I believe she pulled the same stunt as I do within my novels. by locating houses in differing places and changing the names. 

Is it not likely Jane Austen swapped the setting of Longbourn from Berkshire to Hertfordshire, thus she protected the occupants of the house she had used as inspiration for Longbourn. She had family connections within Berkshire, knew it extremely well. Perhaps mini anagrams exist and one day a clever person will unravel a puzzle Jane posed as a teaser game - find Meryton you'll discover Longbourn, or vice versa.     


Windsor was estimated at 24 miles + from London in Jane's time ,  and Jane was not only acquainted with Windsor (fond of it and the castle), she had resided in Reading as a boarder (school), and stayed in Wargrave, all three places on several main coaching routes to Bath, Gloucester, and Holyhead. Her family connections in the county cannot be denied. Aside from which, numerous country houses and estate parkland she would have seen and probably paid visit to on occasion, many vanished (demolished) to make way for modern  rebuilds or municipal housing in later times, plus modern post WWII housing estates were built in and around original parkland and grounds of former glorious houses, often the original estate's name then utilised for road names in like to example: Manor Hill Drive, Manor Hill Crescent, Manor Hill Terrace.      

Add the extra snippets, how at fifteen years of age she wrote an account of history. It was a tad satirical and amusing, but she revealed a great and abiding interest and affection for the Stuarts - Mary Queen of Scots to Charles I and presumably to the remainder of the Stuart era. Could she therefore be deemed a Royalist sympathiser or was her interest nothing more than general observance of those troubling times? We shall never know, but the tragedy of the French Revolution and the guillotine impacted on the Austen's in a personal sense. And her immediate family were later affected by the Napoleonic wars as were no doubt others of her acquaintance and theirs. No wonder then she chose to pen escapist writing, of a lighthearted and amusing bent, not only to escape the dreadful realities of the war dead and the returning wounded, there was always the constant fear great loss could befall the family all over again.        

Might that sense of knowing Berkshire too well set Jane to sage thought of exchanging one county for another? Could it be Meryton and Longbourn reflect places she knew within Berkshire? No one can know for sure, but it adds a new dimension in the search for both places, and perhaps a county distant for the fictional setting eased her conscience in writing of places she knew inside and out! 


Goodnestone Park Manor, Kent, the very house and family Jane Austen's brother married into. 



Here's another thought on Rosings and Pemberley, for Goodnestone Park Manor House was built in 1704 by Brook Bridges. It is accepted as fact the house build was started in 1704 because a brick on the main front declares it thus. We also know from early paintings there were extensive formal gardens, which were redesigned in the 19th century when Sir Brook Bridges, the 3rd baronet and great-grandson of the builder, replaced the gardens with a landscape parkland setting in the fashion of the time, later turned back to smaller contained gardens. He married Fanny Fowler, co-heiress of the ancient Norman barony of FitzWalter, though it was much depleted by the 19th century. In earlier times a Fitzwalter was one of the men who forced King John to sign the Magna Carta in 1215. The FitzWalters were renowned as courtiers (politicians too) and became Earls of Sussex with many cadet branches of the family. 

But back to J. Austen, for Brook and Fanny's daughter, Elizabeth, married Edward Austen, Jane Austen's brother, thus the pair's early married life was conducted at Goodnestone estate within the family fold until they removed to nearby Godmersham Park. There is a strange circumstance related to Edward Austen, for why did the Knight family adopt Edward from the Austen's and to later inherit the estate he had to change his name to Austen-Knight.  


Needless to say, Jane was a regular guest at Goodnestone in the early days of her brother's marriage. A significant factor therefore is that Jane began writing her first novel, Pride and Prejudice, immediately after staying at Goodnestone Park in 1796.


Did Jane utilise Goodnestone as Rosings, and Godmersham Park as Pemberley?  


Godmersham

She probably knew Brook Bridges (extremely wealthy) had bankrolled the marriage to Fanny by loans afforded to the ailing Fitzwalter estate. 
And of course Darcy's mother, Lady Anne Darcy and her sister Lady Catherine de Bourgh, were "Fitzwilliams"! We know the fictional Fitzwilliam (colonel Fitzwilliam) and the earldom had fallen short in monetary quarters, i.e. the estate was run down as was the Fitzwalter estate. 

Hence Jane, again, no doubt set Pemberley in Derbyshire to allay any connection with houses she was indeed familiar. Added to which she does indeed say Elizabeth and the Gardiners ventured to great houses of Derbyshire, not least that of Chatsworth.


The truth of the matter, it's a little sad how TV dramas and Movies have effectively provided Mr. Darcy with houses he could only dream of. 
The Duke of Devonshire's income was £35,000 from his estate at Chatsworth, copper mines and coal mines. 

The following two pictures are houses that were featured as that of Pemberley within TV dramas, namely:

Chatsworth.


Dyrham Park too provided an income of 20, 000 + from 250 acres and business interests. Twice Darcy's income. 



Dyrham Park

Both Chatsworth and Dyrham are almost as large as Blenheim Palace, the seat of the Duke's of Marlborough, and all well in excess of Darcy's  Regency era income.


Blenheim Palace.    


Food for thought, what say you, in how Jane Austen rarely if ever ventures to great detail on houses and fashions etc., and here's a little teaser: 

Jane began writing Pride and  Prejudice in 1796 and it was first published in 1813. It is said PP is set in 1812, so did the publisher, as they're of wont today, suggest she update it to a later time-frame, because it was completed long before its publication day.  Remember Jane lived through the years of the French Revolution 1789-1799.

After all, two of her brothers were naval officers and both were involved in action at sea. Jane had a cousin, the Comtesse Elizabeth de Feullide, Elizabeth sought sanctuary back in the family fold when her husband the Compte went to the guillotine. Elizabeth later married Henry Austen, and no doubt this is why Jane sought escape from the horrors of reality. In retrospect her novels are not a true depiction of her day despite her social awareness and collective impressions of wealth Vs poverty and bettering one's prospects. She did indeed gloss and paint a picture of rural delights with happy carefree picnics, soirees and much dancing as though the country was not at war with France and in 1812, America.  

   

Sunday, 29 April 2018

Book Covers Matter - or do they?


“Book Covers Matter - Book Covers Matter”
The above is the age-old Mantra of publishers, book designers, and authors alike.
Then there’s the Secondary Mantra for Historical Novels!
“Historical Accuracy is a Must- Historical Accuracy is a Must”
~
And one would suppose that in the sphere of Historical Romance the Accuracy Mantra would be essential to depict accurately a Genre, Period in History, and Theme.
Not so, Not so... Anything goes!

Sadly, Historical Romance novels have transitioned across the years from the early days of elegant covers with inanimate objects or sensual painted pose.

 



to the Bodice-Ripper era




to the Headless or semi-headless Heroine era


to the now Fantasy era of women bare-backed/half stripped, and those models in modern shirts. 




Ahhhhhhhhh The shirt is all Wrong!


Effectively covers have gone from the sublime to the ridiculous with supposed Historical Heroines depicted wearing modern Prom dresses or Fancy Dress Disneyesque frocks instead of Period Perfect Gowns. If that wasn’t enough to have officiandos of Historical accuracy cringing as they peruse book lists at Amazon, the mens' shirts can cause outrage amidst re-enactor communities and the Period Specific nerds, the latter of which I am one of many!



A shirtless hero is by far preferable to one wearing incorrect attire for the period depicted within the pages of the novel.

  Nap-Shirt 



Lace Jabot


 And it should be remembered button-through shirts didn’t exist prior to the 18th and throughout the Georgian period as a whole - inclusive the Regency period. But true enough, during the late Victorian era button-through shirts gradually came to fruition. So do not have your hero or heroine unbuttoning his shirt, unless you are writing a late-Victorian/Edwardian era novel. And remember smock shirts were still customary wear for the average Joe, as were nightshirts. It may also surprise readers and authors to learn ready-made attachments, such as frilled cuffs and a jabot - the former affixed with looped-through ties and the latter with back-buttons.



Button-Through Victorian Dress shirt!

Don't you just love that moustache... Tickle me, do...

Wednesday, 9 March 2016

New Georgian/Regency Series - The Trevellians' of New-Lyn



Dear Reader,

A year past I wrote a Romantic Regency Murder Mystery titled For Love of Captain Jack - and shortly after publication day I received a lovely email from a reader. So intrigued by entries from a journal penned by the Captain's deceased mother, the reader expressed interest in knowing a little more about his parents prior to the young captain's story. Of course I did indeed mull the prospect of writing what could become a mini-family series, but to do so would entail writing the books in reverse order. Another problem that arose was in how to reveal the individual viewpoints  of Admiral Trevellian, and that of his beloved Comtesse Montecute, and all without undue exposure of prior events associated with the murders and mysteries within their son's story. Thus Adelle Montecute's journal plays a vital role as the books' progress, spanning the years and lives of the Trevellians. The first two stories are set within the Georgian period, the third most definitely within the Regency era. And I can only hope you will enjoy the stories where two people fall hopelessly in love and defy the conventions and rules of society by indulging  in secret liaisons.   




An emotional and poignant tale of murder, mystery, and romance.

After the dreadful murder of la Comtesse Montacute and her sons, in the grounds of the family château, le Comte and his daughter are mortified by turn of events. Who did it and for what reason? Utterly distraught, they accept the help of an English marquis and return with him to England. A dreadful dilemma then unfolds. A secret tryst between Adelle and a young admiral leads to untold heartache when Adelle’s aunt declares she is spoken for. Thus Adelle would rather risk life on the streets with a fellow countryman than abide to her father and her aunt’s desire to see her wedded to the marquis. But when a man of cold countenance and vengeful nature is hunting her, as he would a fox running ahead of his hounds, she fears the marquis will win the day by means most cruel and dastardly. 










The Admiral's Sin - A Romantic Murder Mystery (The Trevellians' of New-Lyn Book 2)
A Heart-wrenching story of loss, love, and revenge.
.
Wanting to believe the past is in the past and friendship can be reinstated with an old adversary, Admiral Trevellian loses far more than he ever bargained on by trusting the Duke of Norfleet. Betrayal runs deep, so deep Trevellian awakens to discover his wife has stolen away with her French coachman, and fearing the worst that she’s taken their son, Trevellian is further shocked to discover the boy has been left in his charge. Wielding a sword in battle is quite different than wielding one in pure anger and grievance at another’s insane jealousy and destructive bent. But hold the duke to account, Trevellian will, until satisfaction is met with cold steel to flesh. Life for Trevellian is utter purgatory, and whilst he believes death will cease his unbearable pain, his son determines otherwise.






Finally, book 3 - another love story!




It is 1814 Regency England, and Captain Jack Trevellian RN (Royal Navy) has returned home to South Devon. But on the eve of his return, a young woman is murdered. Three more murders occur in quick succession, and Captain Jack is convinced someone wishes to see him dangling from a hangman’s noose. Determined to uncover the identity of the killer, Captain Jack and his army friend Captain Lester Knight, stir more trouble than anticipated when their aristocratic neighbour brings rank to bear in matters of the judicial system.


Although young women in the district are warned to travel about in pairs, when the vicar’s daughter and a young lady (of whom Trevellian is rather attached) hear blood-curdling screams in Lyn Woods, they are thankful Captain Jack provided an armed guard to keep them safe. Nonetheless, wilful, bold and daring, and all for love of Captain Jack, Alathea Velvet Hawkesworth attempts to lure the murderer from the shadows at a grand masque ball. The true identity of the murderous villain is not as imagined, and she fears she will die a terrible death whilst laughter, music and heady scent of roses drift on a balmy evening breeze, and all within a palatial setting.