Courtly Scandals Inspirations

Happy Ides of March!

I introduced Mary Montgomery in Courtly Pleasures. She was Frances LeSieur's no-nonsense friend, both practical and nurturing. She was a problem solver and a little bit of a meddler with a suppressed wild streak.

Courtly Scandals (due to release 3/19/18 - 4 days!) is Mary's story. Courtly Pleasures ends with Frances heading back to the country and Mary staying behind with her old friend, Anne Cecil, the Countess of Oxford. Mary stayed because she thought Anne needed her, but isn't there long before she realizes there's a world of resentment and judgement within Anne and the friend she was making sacrifices for is a soul sucking harpy not worth the effort.

As I was writing, I realized I was missing something. Without Frances and Jane, Mary seemed so very alone and her romance was so fresh that she needed someone to turn to, someone who would slap any self-doubt or sense of worthlessness out of her.

And that's when I saw this (some mild language):

This is what I was missing. Mary needed a sassy gay friend to redirect her when she was being stupid (and there was a plot line with Oxford that this balanced out perfectly). So I built up Girard, a minstrel of the Oxford house, devastatingly handsome, a true friend, honest, non-threatening, but vulnerable due to his very nature and the world he lived in. I realize Mary has a very modern approach in that she does not judge him the way the traditional Elizabethan would -- however, she'd been at court and was familiar with the fact that that the rules are different for people with money and power.

Girard is not the flamboyant stereotype featured in the video above. I like to think I gave him depth and, though he has a sense of humor and constant twinkle in his eye, there is a gravitas to him.

Courtly Scandals was also influenced by Virginia Henley's The Hawk and the Dove. I read this many years ago, long before I developed my love affair with Elizabethan England and Queen Elizabeth herself. In this book the main character disguises herself as Queen Elizabeth so disrespectfully as to be almost heretical in the period -- but then her version of Queen Elizabeth is very different from mine. While Ms. Henley's portrayal of Queen Elizabeth was somewhat shrewish (not wrong) and mine is more benevolent, if a little capricious (also not wrong), I nodded to the scene in my own way. Without going into too much detail (no spoilers), the revelry at court over the 12 days of Christmas gives an author carte blanche. Anything can happen.

Courtly Scandals is the story of a damsel in distress who figures out how to rescue herself. Sir Charles is the knight in shining armor that discovers he needs rescuing too. The story unfolds with a series of what-else-could-possibly-go-wrong-? moments that bring them together in a bond that begins with attraction and ends in trust. 

If you enjoy Mary's story, I look forward to reintroducing you to Jane in Courtly Abandon, due to release in July of 2018.

History Happened. Really. So Get it Right.

Allow me to jump back into the blogosphere with a short rant about historical accuracy.

I like writing with historical settings. I have written fantasy and struggle with consistency. I have to draw maps and create cultures and magical systems and naming traditions. When writing with a historical setting, it's all been done for you. Thank you, people who came before, for laying it out for me.

That said, research is required. No matter how much I think I know, I am constantly second guessing and double checking. Whatever the era, there is a plethora of resources available (online, for free!) to help fine tune the details of your novel. You don't want to fudge because you lose credibility as a writer, no matter how great your story may be.

The following points stand out to me both as a reader and a writer.

1. Language
When writing a story set within the Elizabethan Era, I found myself looking up the word Machiavellian. Certainly Machiavelli had existed and been published prior to this time. But even though the educated may have read his work, would his name have been equated with the theme of his writing? No. It's a more modern term and would be inappropriate to use. Word choice matters when it comes to making your setting real. I just read something set in early Victorian where they used the word "perp" in reference to the bad guy and it broke me out of the story completely.
To become comfortable with the word use of your chosen era, read work (primary sources) from that time. If you are uncertain, Wikipedia is a decent and easy resource to double check (I once looked up "cunt" because I wanted to confirm period crude slang for that particular body part. The table full of youth pastors meeting behind me became suddenly silent when it popped up in 100 pt font on my screen. Good times.)
Whether or not you choose to write in dialect (I did originally, but then an acquiring editor at Avon told me to nix that), make certain the speech patterns are consistent with the era, the class, and the setting. Consider period slang, contradictions, and forms of address while still making the dialogue accessible to the reader.

2. Names
I have found church records for marriages, baptisms, etc... from the years I write online. Even if you cannot find direct resources of the names of commoners, looking at the names of the royal families of  will tell you the trends of the time (people tended to name after the people in charge in homage/butt kissing). Depending on your era, historically people were not creative in the name department. Even today there are some countries that have lists of approved names. Learn about the culture of your setting. Are sons named after fathers? Do children take their mother's maiden name as a middle name? Does their birth date figure in to their naming (saints days)?
This can be frustrating because it limits creativity OR it could be a relief that you don't have everything to choose from. I've seen many authors nod to historical naming with the character's given name and then play with nick-names. Personally, I'd rather read about a real guy with an old fashioned name like Edwin than an archetype who goes by Rogue (just in case we didn't understand the archetype)

3. Norms
This is the biggest challenge for me. You want to write something historically accurate that the modern reader can relate to. If your main character is a woman (and mine always is) you have to be careful not to give her modern thought processes. Women's rights were limited but for a woman in that era, that would be all she ever knew and would be, if not content, at least resigned to her lot in life. Depending on the era you are writing there are very specific thoughts about religion, ethnicity, and class systems. Modern readers may see oppression or racism or elitism while the historical characters see it as the way of their world. How you write it will make all the difference. For the historical characters, these aspects of society were normal but can be off-putting for a reader. Finding the balance between historical views and modern sentiment is tricky. Have fun with that.
Being consistent with social norms extends to casual interactions, introductions, conversations public and private, forms of address, seating at the table, manners, class distinctions, etc... It's the biggest aspect of historical setting and what gives the read a feel of authenticity.

4. Costumes
Again, as with norms, it's hard to make historical fashions something the modern reader can comprehend. People have preconceived images of what is attractive now and it's hard to merge modern aesthetic values the historical. Consider your characters from the skin outward, being sure to include their undergarments (or lack thereof) and the correct names for the items. I read a book where the corset was referred to as a busk (a busk is the solid, removable insert in the center front of an early corset). It may be sexy by today's standards to have your heroine forgo her chemise beneath the corset, but consider that the chemise protects the outerwear from sweat and the skin from the coarse, heavy, boned corsets. Research. Look at portraits from the era, look at patterns for construction, and read about the way the garments would have been worn. You can find primary source fashion plates but many of the reenactor websites can be a good resource (they take their attention to accuracy very seriously).
I have to be careful not to make my books a treatise on historical costuming because I love the details. I end up trimming my descriptions down to the bare minimum. I want the reader to picture the character in the gown and how she feels, the impression she leaves, rather than the pleating at the waistband or the embroidery on the shoulder epaulets. It's actually hard for me, but no one wants pages and pages of dress description, they want the story. The dress only matters in how it furthers the character and plot, but it should be accurate.
One positive in understanding all the layers and the way they fasten is that it will help you also undress your character later. :)
The only area where (my personal feeling) it's okay to deviate from historical accuracy in costuming is in the area of hygiene (especially if your work is sexually explicit). Enough said.

1751 Countess of Coventry
A renowned beauty

Ultimately the story has to take dominance over all these details, but working in the true flavor of your chosen era will make the story richer and let the reader truly immerse themselves in your world. Granted, not every reader knows whether or not cotton would have been worn by medieval Scottish peasants (it wouldn't have) but you still owe them accuracy rather than hoping no one will care/notice. It's your name on the cover and your credibility at stake.

You may be asking what gives me to right to lecture on attention to detail in historical romance. If you don't want to take me seriously as a writer (I get that), at least consider this from a reader's perspective. I never read another book by the author that called a corset a busk.

Death by a Thousand Cuts

This is Sam Elliot. It was actually the 'mustache rides" t-shirt that made this win over all the other images that came up under my "crazy mustache biker dude" search.

This is what I must have looked like today at Princess Nails when I had my brow waxed and my insanely huge mustache threaded. I'd noticed a few hairs that were darker than blonde and though I should take care of it before I go downhill fast. I can't just wax my lip thanks to the cold sores I get whenever that space is abused. Hence, threading. Holy Mary, Mother of God. I left with tears streaming down my face, trying to smile as I paid for this torture.

Why subject myself to this? Well, I'm going to a writing conference.

What does my mustache have to do with writing? This is the big question. The real answer? Nothing. However, in an effort to look like a well-groomed, confident, competent, not-crazy person, I put a lot of time into getting into my writerly character. This involves shaving my legs regularly, not just the day I need it, so that my skin looks healthy, nourished, and isn't covered in red bumps. It also involves reacquainting myself with my flat-iron and make-up bag. It means a more regular skin regime, not just using a daily moisturizer with spf30. Why? Because most people put more effort into their appearance than I do on a daily basis and, during a conference, I have to fake it in such a way that it seems natural. It's akin to Renee Zellweger putting on weight and taking on a job at a British publishing company to prepare for Bridget Jones's Diary (only much less cool.) I pretend to be socially acceptable and hope it sticks for the duration of the conference.

The amount of which I simply do not care about how I look would astound most people. This is offset by occasional bouts of caring, but not enough to actually do anything on a regular basis. At conferences I plan to promote myself like a high priced whore (without the sex). It's what I always do. Usually I'm sort of hyped about the process, ready to conquer the world, and the Stanislavskian character development/method acting begins a good month in advance.

Not so this time. I leave tomorrow for Los Angeles and I just gave in to the self-inflicted pressure and took one small step towards my packaging (losing the mustache I didn't even know I had). I made the monetary investment and allowances for time away from my family a while ago, but I haven't committed to my pre-conference prep. Why? I don't seem to care. Yeah-- I know, it's dumb. I mean, I care like crazy about getting published but, lately, when I think about pitching, I just get tired. I don't know if can be that go-getter who is serious about her career (I am very serious, btw), smiling at strangers and trying to network. I think the problem is that there is only so much abuse a person's ego can take. How many times do I get told the industry doesn't want my manuscripts before I start to believe it? I might be there already. I'm pitching my finished work this time, but I've stopped seeing them as viable and count only on my works in progress when I think about the possibility of that first deal. I've lost steam.

This could be a good thing. I mean the high-on-life social butterfly I force myself to be at these things hasn't worked. It's possible I come off as on crack (not the first time I've heard that) and am off-putting. Maybe, the new, relaxed conference version of me will be more appealing. Heck, maybe I should just go for hard-to-get and make myself a challenge. If you can spark MY interest, you might get to represent my three historical romance novels, two supernatural romantic suspense novels, and possibly my contemporary romances (if you're lucky). I'll be aloof and mysterious. Come and get me.

Yeah, I don't have high hopes for that either.  So, as it stands, I will probably doll up (professional with personal touches that speak to artistry) and pretend to be gregarious then sleep hard for a week. We shall see.

If you see me at the California Dreamin' Conference, please say hello. I'm friendly even if I'm not naturally outgoing. Or, maybe I will be on crack and say hello to you first. Who know's? It's a mystery.

Not the Usual Entrance

I'm blogging when I should be sleeping off the anesthesia. Good idea? Probably not. But I'm moved to blog and therefore I should.

I had (TMI warning) a colonoscopy today. It was Karma's way of teaching me a lesson. You see my mother gets a colonoscopy about once a month and when she's not being probed, she's thinking about it, scheduling it, prepping for it, or talking about it. As a result I took to writing it down for her randomly on her home calendar and white board whenever I visit. So, here I am at thirty-nine having a colonoscopy while fate points a finger and says, "Ha. Ha."

What does this have to do with writing? Romance?

Well... romance.

The backdoor is slowly becoming a plausible source for penetration in mainstream romance. Not my cup-o-tea, personally. Seriously, never going to happen. Never going to write about it happening between a man and a woman as if it's something sexy. Maybe I'm not open minded enough or whatever, doesn't matter. Exit only. Thank you. My opinion.

The first book I read that included anal sex caught me by surprise. First I thought he was just being messy with the oils, then overly cautious when he donned two condoms. But when the hero entered the heroine from "not the usual place" I had to reread a couple times to make sure I understood. I can't remember the title or author and my Google searches gave me nothing. The story involved a woman pretending to be a gypsy psychic while she scammed the haut ton in order to get vengeance against the family that wronged her. The leading man forcefully seduces her (not rapey enough for me to shut the book then and there -- no means no) and then BAM, in the butt. I'll be she was surprised. I certainly was.

Since then, with the rise of romantica as a sub-genre, I've read it multiple times. Usually the author handles it well and since I'm invested in the story of the characters, the fact that I find the act off-putting is irrelevant to the overall story. Lady Chatterly's Lover, one of my favorite books, includes it (I was just too unwordly to understand what "the Italian way" meant when I first read it), but the story is about so much more than sex that even now that I know it doesn't detract. The entire story is about finding that "connexion," and though the sexual content is prominent it's really just part of that process. I think all successful romances use sex as a way to further the character's emotional growth and, in that, can go to all sorts of lengths as long as it's consistent with the characters. This is why, to me, Sylvia Day's Crossfire series doesn't come across as abusive while Fifty Shades does.


What do you think about the broadening scope of sexuality within the romance genre?

Viewing Your Own Work Objectively

It isn't possible. There. Done. Shortest blog post ever.

Nah, I was just kidding. My point has been made but I'm still going to babble. And, before I begin, let me explain that I am on pain killers for shoulder surgery. Be warned. I am not bi-polar but I play one on TV.

Okay, on point: Objectivity = impossible.  While I'm writing and excited, the book is the best book ever written. I am a GOD!  And then revisions of the first draft begin and I should not be allowed to live, let alone write. When everything is done and I have a clean, finished manuscript I, yet again, become awesome. At this point I usually don't look at it again and move on to the next project.

From time to time I've unearthed one of my previous works for a submission or competition or such. These times are iffy. I could be far enough removed from it to find the cadence of my writing unfamiliar and be pleasantly surprised by a book that (by that point, it's probably been rejected a few times) is obviously terrible. Or maybe it was so close to my heart that it hurts to even read it with the knowledge that it will remain under my bed. I've been through the gamut of reactions with my courtly books.

Possessing Karma was going to be my break out novel. It was edgy, different, super sexy, a little scary... it merged my love of history with my total fear of ghosts and came out awesome. Or at least I thought it was awesome until yesterday when I decided to do a quick once over for Golden Heart.

Things I remember including as part of my voice and my character's deep pov are not there. I must have cut them in favor of brevity or something. Philippe's a nice guy, maybe too nice. Karma's OCD because I say she is, but I don't show it. Damn. I don't know what I did in the final edit, but my work feels soulless and choppy. No wonder it didn't get the response I expected.

I think I may have to set aside Touched in favor of breathing life back into Karma. Either that or I'll read it again tomorrow and be awed by my brilliance.

Gillian, What's Your Sign?

As I flesh out my characters, one of the tools I use to keep myself from making them archetypal is an astrological chart. I give my characters a birthday and accept the random character traits astrology lists. I already know the basics. For example, as a Leo, Gillian is confident and a little pushy. She is comfortable performing and enjoys the recognition for her talents. This is currently causing her some grief in her academic studies because her British professor has discounted her as a dumb American. Her chart added some traits that balance out her drive to succeed. Her moon in Jupiter gives her "great optimism and an ability to bounce back easily from negative experiences" -- which is important given that her husband died of Leukemia and she's uprooted her life to follow her dreams.  Her Mercury being in Virgo helps in her research with the University of Cork College in that she has "a fine mind and a great appetite for detail. [She] appreciate minute differences and distinctions and take a very surgical approach to your operations." True to her Leonine traits, her Mercury squares Mars making her a forceful and dynamic communicator who sometimes can be too aggressive. Luckily her sun is in the 12th house, making her serious and ready to sacrifice herself for the needs of other.

Whether or not you think astrology is bunk, the character traits have been really useful. I need to run my male lead's chart. I know that Sergeant Liam Hurley of Glangashaboy garda is an Aries and very compatible with a Leo, but would find more information helpful in developing him further.

For more detail on Gillian's astrological chart or, more importantly, to look at the various facets of a cahrt, continue reading. For those of you who don't care (and hey, I get that), don't continue reading.

Happy writing.

Note: I used the astrological chart generator linked above. For those of you that might really be into this as a religion/science and have thoughts on the accuracy of the chart generator, I don't really care. Since Gillian is not a real person, it's only important as a tool for me.

A Little Pervy, Really

The hot male stars I grew up crushing on are now in their forties, some older. The new male stars, while equally hot, are disgustingly young. I'll see an attractive guy and be appreciative, then realize he's ridiculously younger than I. I'm not looking to make a love connection or anything, but I still feel gross when I realize the age difference.

When all the 'Team Edward' vs 'Team Jacob' stuff was fresh in the pop culture, though I had a healthy mammalian appreciation for Taylor Lautner's abs, I could not, in good conscience, choose a side. It just felt dirty somehow, like I should don a big 70's porn mustache and hang out too close to a school. Yuck.

I'm sure that coming-on-40 year-old men have no crisis of conscience when they ogle 20-something women. They don't feel the least bit grossed out that those breasts belong to someone who was an infant when they graduated high school. I'm sure there's a long sociological explanation about why this is acceptable in regard to fertility and such, but it doesn't change the ick factor. I'm sure there's also an equally good fertility based point to support a woman nearing the end of her reproductive years finding a younger man attractive, but that doesn't stop the fact that I feel like a pervert when I raise my eyebrows in, say, Liam Hemsworth's direction.

At least Match.com sends me appropriately aged dating options in my area (unsolicited -- seriously. I don't know what I clicked or when, but I want it to stop).

Thank God for Ian Somerhalder being in just a few years younger than I. If I catch myself with pervy tendencies  I can just go to Netflix for Vampire Diaries and crush away.

Holding Hands

I am a big fan of Beatles music. In general, I prefer the more psychedelic stuff over their earlier C major, happy music but recently I have been loving Kurt’s rendition of “I Want to Hold Your Hand” from Glee in 3-D. A song I have always viewed as shallow took on a new meaning – a longing for a physical connection. A simple touch, a shared sensation. The ramifications could mean nothing or everything, and sometimes it seems worth almost anything to find out. Touch takes knowing someone to a different level.

I just finished (devoured, really) Hearts in Darkness by Laura Kaye. Two people who had barely glimpsed each other are stuck in a pitch dark elevator. All he saw was her long red hair as she rushed for the elevator. All she remembered seeing of him was the tattoo on his hand. Complete strangers, they end up finding that elusive connection – first through honest sharing, then through touch. I really responded to the way they had the need to reach out. They could not see, but the way his stubble felt beneath her fingers, the way her fingers traced paths of heat against his skin, his scars, was both emotionally moving and sensual. It's like they were learning each other. The heightened sensation of touch along with their whispered truths felt so much more intimate, and more erotic, than the simple actions would have been in any other scenario. I highly recommend this book.

Every romance is centered around that connection.  As the world we are in becomes more and more anonymous, faceless, true connection to other people becomes precious. Maybe this is why I enjoy reading and writing romance so much - it glorifies something I find lacking in the real world. Life is too busy to stop and treasure a simple touch.

Maybe holding someone's hand should be something sing about, to long for.

Scent and Your Senses

Last year I bought a tube of different flavored lip-balms for my daughters. There were five in total, so each girl got two and I kept one. The minute I opened that orange chap stick, the scent brought me back 20 some years to fall finals during my freshman year in high school. The sensory memory was sharp. Distinct. I remembered performing a scene from Bitches with my good friend Jessica. I remembered running through the misty rain for the bus, the way my wool skirt that I'd worn as  part of my Bitches costume smelled as it dried. Every little detail, all from the scent of orange chap stick.

Scent is part of how we experience our world and it's something I try not to underplay in my writing. Not all scents deserve to be described, but fresh mowed grass or crisp air after the rain go a long way to adding depth to a spring day. Wood fire smoke, cinnamon, and apple cider helps paint a picture of a cozy autumn night. I tend to overuse the scent of leather and brandy when describing a man. When I write a garden scene, I research what plants grew in that part England 500 years ago, when they were in season, and what time of day their perfume was at its strongest.

Scents can also tell the emotional story or help with character development. Regardless of the food itself, when a meal is a positive experience for the character, the courses smell delicious,  full of sweet and savory spices that make the mouth water. When a negative experience, the sickly sweet scents can turn the stomach, the mixture of odors might assault the senses. In a love scene, the leading man might be smell musky, masculine whereas the villain would be rank, his body odor foul. Use of scent does not just flesh out the environment, it can tell the story.


Do you pay attention to scent while setting your scene?

It's All Been Done Before

There are, what? Seven basic story archetypes? (correct me if you know for sure)

I used to note them all the time when I was primarily into fantasy. Chosen one saves the world. Select group find object of great power (to either wield or destroy). There's always the super bad guy and the unwitting hero.

Mystery - quirky detective solves crime, bad guy punished.

Romance - well, that consists of boy meets girl. No obstacles can keep them from finding their happily ever after.

It's all been done. It's the author's voice that makes it unique. If that was not true, why would the romance reading demographic read hundreds and hundreds of the same story? After all, it's all about love finding a way -- except that it's not.

It's all about the characters. They make the story real and unique. Even though some genres overuse certain character archetypes (the alpha male in romance) each one has has own fingerprint, his own strengths and weaknesses (even though they're all physically perfect*). If the gorgeous, emotionally unavailable, sexually skilled leading man was vapid, the reader would not fall in love with him and the book would not be memorable.

Author's in every genre will run into that moment when they realize their story is not a reinvention of the wheel. They just need to breath in through the nose, out through the mouth, and accept that their own version of the wheel is not a rip off, it is part of them. It's their own unique voice, their own characters, their story -- and that is okay. No one who is a fan of reading will accuse them of copying. Because it's all been done and will be done again.

Be the purple bunny.

*Mary Balogh has a hero that was injured badly in war. His face is disfigured and he is missing a limb (if I remember). Good book, btw.

FUUUUUUUUUU..... DGE!

The other day I missed the last four steps and went straight for the tile. Our staircase turns at a 90 degree angle and 2 of the steps at that point are triangular and then there are 4 more before the ground floor. The shortest distance down the stairs involves cutting in at the narrowest point. I missed. Toe, ankle, knee, then caught myself and lay there for a moment, stunned. I also yelled, in slow motion, the big bad mamajamma of four letter words.

Now I do not swear a lot.  I am a teacher and insist on 'polite language' in my classroom (when students don't realize that bitch is not okay to use casually or that the term faggot is offensive and perpetuates bigotry and hatred, the fact that 'suck' is crude elludes them entirely). As a mother, my kids think 'stupid' is the "s-word." I have never dropped the F-bomb in their presence.  Until last week.

Luckily they were more in a panic by the yell and following groaning on the floor to pay attention to what I actually yelled.  Phew.

As a writer of historical fiction, I have to be aware of the vernacular of the era. In choosing not to include thee, thou, thy, etc... I made a point to give a sense of formality when appropriate and an old world flare by using terminology from the age. Including crass terms. The F-bomb was absolutely a verb for the same action as it describes today, however it had yet to evolve into an adjective (He's f-ing stupid) or noun (that F over there said....). Ass was actually a jackass = donkey. Arse was the word describing the modern day ass and used, mainly, for anatomical purposes verses name calling. When I do use cruder terms, I look up their etymology to make sure they were common place in my era and that I am using them correctly.

Introducing Edward Da Vere, the 17th Earl of Oxford

 Genius, spoiled brat, lecher, drunkard, abuser, lawyer, dancer, wit, lover, husband, father, courtier, poet, play-write, murderer, politician... he was all these things.

Edward Da Vere inherited the earldom at the age of twelve upon the death of his father. His father had been royally screwed by the Dudleys into signing over ownership to many properties.  When Earl #16 died, Earl #17 was too young to inherit, so his remaining property rights went into wardship.

He was raised by William Cecil, who later became Baron Burghley. Cecil was not a loving man, but did value academics. Young Oxford was schooled extensively and became highly skilled in law (possibly so he could get his properties back).

At 21 he married Cecil's daughter, Anne. Anne, for whatever reason, wanted to marry Oxford. It didn't go well.

Oxford is quite a character. I use him in Courtly Scandals as my villain and in Courtly Abandon as my unwitting hero. He was many, many things, but I chose to show him as the brilliant brat prince. Entitled and bored. I grew fond of him while I was compiling a list of courtiers who would have been active at Queen Elizabeth's court between 1571 and 1574. He was there and within age range. I cast him as a minor but comedic character in Courtly Pleasures and it grew from there.

In the years I have been working on my Elizabethan books, Oxford has garnered more media attention. One of the current thoughts is that he might have been Shakespeare.  Yes, I have used that to my advantage.

I write this today because of a new movie coming out this year. Yes, Elizabethan period pieces come out from time to time, but this one is about (wait for it) Oxford!  This could be good and bad for me.  Good because I have a prominent historical character and a current person of interest as an almost primary character in my story and it might reach a larger market. Bad because tons of people may find him interesting and saturate the industry.  And my books are light romance,not heavy drama, so might not appeal to the same audience. Who knows? Either way, it's interesting and I can't wait to see it.

Your Look

A good friend told me her agent had once confided that he was not extroverted and found the conference scene intimidating. In order to cope, he developed a persona that went along with his image. It had smatterings of him so included honesty, but was a little bit more exaggerated. It makes sense. People who are skilled in the written word are often a little awkward on the spot.

On this, we discussed the image we would want to project. I had no clue.

My friend had recently had head shots done. Since she was "edgy" for her genre, the colors were dark, minimal. There was no fluff, just an intense gaze and awesome hair. Also, given the genre, there were no visible tattoos.

But how would I project myself? The pic I use most frequently is from my sister's wedding seven years ago. I was pregnant and wearing lavender satin in a cathedral. I look classy, but is that what I want to say about myself?

Not really. Yes, I appreciate simple elegance -- but I think one of my strong points is my sense of humor. I describe my stories as a romp. Yes, there is deep subject matter, but a lot of laughter is involved. I write Elizabethan historical romance - complete with ridiculous humor that came with Shakespeare. I have role reversal, mistaken identity, bawdy humor, and fantasy. Short of picturing me in my Elizabethan court costume (which might seem a bit freakish), I don't know what to go with.

Maybe not this sexy... or ridiculous.

 I had pictured something akin to the character of Penelope Garcia in Criminal Minds (to whom I have always related), but that would be an actual costume. I'm just not that cool. My friend, the edgy, dark, non-tattooed one, suggested I assume a sexy-librarian.

Hmmmm... The costume designer inside of me pictures a fitted suite with a leather bustier. Tweed with silk. A contrast in textures and attitudes. It's an interesting idea, but not important until I'm someone other than the pre-published writer of historical romance.

Do you have an image that you purposefully portray? Or what would your image be once you're published?

Off topic -- while searching for pics for this post, I found tons of Tina Fey (who I have frequently been likened too). It's the glasses. :)

I am a Collector

I collect people.

Sound's creepy, doesn't it? But no, I don't have people gagged and bound in the closet under the stairs. I do, however, have mental snapshots of facial expressions, mannerisms, excuses, rationalizations, etc... If you write I'm sure you understand what I mean.

My characters are not based on real people, but the way my main character in my current work has to learn to walk correctly in courtly attire comes from my own experience. Her joie de vivre is based on my daughter's unadulterated joy at simple things like the wind in her hair or lady bugs.  One potential suitor's fickle interest is based on how my father jumps from obsession to obsession, always completely engrossed until he finds something else that perks his fancy. 

I find myself watching couples on first dates, noting how they touch each other subtly, or how they pointedly DO NOT touch. The way attractive women acknowledge flirting or don't. The way older gentlemen ogle, they believe surreptitiously, the younger women. How every eye, even mine, is drawn to excessive cleavage. How I feel when I notice eyes on my cleavage... little details.  When I'm watching a film or TV show, I take mental notes on how the characters interact. How they devaite from their archetypes or don't. Their quirks, the way they stand, fidget, what-have-you... I pay attention to these things.

Then I start to analyze why. Is the couple on their date touching each other because it's expected or because they can't help themselves. Perhaps the ones not touching are more attracted but feel awkward, inexperienced, insecure. Who knows. Maybe the old man ogling the young woman is remembering how his wife used to flip her hair like that when they first met, or perhaps he's a dirty old lech with a bottle of chloroform in his briefcase.

How do you build characters?

Dear Cary Elwes,

Cary Elwes

I have to say that I am disappointed that time has affected you the way it does the rest of us mere mortals.

My teenage infatuation was first peaked with your young Dudley followed by your spectacular Wesley.  Who knew the simple phrase, "As you wish" could hold so much promise?  No one else could have played it like you.  No one.

Time passed but the twinkle in your eye, your constant knowing smirk, and your smooth BBC cultured voice remained constant.  Whether your were dancing in tights, chasing a storm, or wooing uber-sexual Lucy, you were suave. In character yet always Cary Elwes.

The passage of time slapped me in the face while watching Psych. What happened?  You are not allowed to be almost fifty. You are required by the law of romantic daydreams to remain forever between 28 and 38.  It was almost difficult to enjoy your Despereaux.  Perhaps it was the reminder of my own aging that bothered me more than the fact that you no longer have a 30" waist.

Josh Dallas

I write this today because last night I actually went to the movies (gasp) and saw Thor. It was not the cheesy action movie with eye candy I expected but a well balanced hero's journey full of humor, angst, and sexual tension (thank you Kenneth Branagh).  It also included 29 year old Josh Dallas with a little baby handle-bar mustache in the role of Fandral.  Cultured British accent - check. Quirky smile - check. Twinkle in the eye - check. He did not ask the ice giant whether or not he had six fingers on his left hand, but I could tell he wanted to.

Josh Dallas

Although infatuation worthy in his own right, his similarity to young you bothers me.  Maybe if I was a teenager now I would latch on to his twinkle, smirk, and (fake) British-ness, but the grown up me sees him as a cheap (but attractive) imitation.

I may not know how to pronounce your name, I remain faithful to the crush of my youth. I will still use you as a basis for character development, but I will probably stick with the earlier version of you instead of the current. In case you are curious, you have been cast as the recurring character of Kit Hatton.

Cary Elwes

The Gray Area

Real people are never black or white, they vary in shades of gray. No one is perfectly good or perfectly evil.

In the world I create, my characters do not have much of a gray area. This is a problem. The characters intended to be likable are likable. The villains are dastardly. As much as I try not to be archetypal, I do type cast and can't seem to help myself. Certain characteristics lend themselves to certain types of people. At face value, they are either good or bad.

But not in real life. In real life the compulsive liar that always has to one up every thing you say also works in the nursery at AIDS outreach events. The Munchhausen syndrome old man who demands the spotlight always be on his ailments or suffering regardless of the situation is a Vietnam vet who lost his leg protecting a peasant girl from being attacked by one of his own platoon. The alcoholic young mother drinks to drown out her memories of abuse is a victim as much as she is an irresponsible abuser herself.  Real life is full of gray areas.

While I do feel my main characters do fall into the gray spectrum, the peripheral characters tend toward black and white. They are either my good guys or bad guys and never the twain shall meet. Until now.

I have a bad guy from the previous book who I really just love writing. In the previous book he was an attempted rapist and ready to sacrifice someone else's life in order to save his reputation.  In this book he's still the unforgiven brat prince, but the jolly side of him is more integral to the story. He, accidentally, solves everyone's problems - which is something that vexes him deeply since their problems were so much fun to watch playing out.  He's almost a good guy, but he's so bad.  Could it be that I wrote a gray character?

Characters Wanted

She must be more than just a chambermaid.

My critique partner once asked me to choose my favorite books and figure out what about them drew me. What did the author do that made it a great book?  It has been hard for me to pinpoint any one thing. I love the setting, the story, the passion... I even the love costuming.  In short, I love everything.  How does that help me determine my own style? It doesn't.  I needed to pinpoint something that made my favorite books, the ones I can read over an over again, a notch above the rest.

I finally started reading When Beauty Tamed the Beast.  It has been on my shelf for over a month and I just have not had time.  Luckily (or unluckily) the need for dental work gave me some quiet reading time and I am loving this book.  This is not a surprise as I have loved every Eloisa James book I have read.  What is significant about this book is that it helped me realize what it is that draws me in to her stories.

The characters.

I immediately get a sense of who all the players are.  I mean ALL the players.  No character is too minor to be developed. I remember their names long after the book is finished.  I want to know what happens next.  They are each distinctive, very real and yet larger than life.  This is what I expect when I pick up an Eloisa James novel, and she has yet to let me down.

This holds true for the movies and TV shows I enjoy -- they have characters that are so much more than an archetype.  The USA network promotes their shows as being character driven and, in many cases, this is true.  The Closer would be just another cop show without each distinctive member of the Major Crimes team. 

Am I making all of my characters real? Distinctive? Memorable? Obviously that is something that is important to me. I look for it in other books, so I should apply it in my own work. But I think I cut corners. The periphery characters are just that, fuzzy and off to the side.  They exist because I will them to and serve a function, but my focus is on my main and supporting cast.  Although this realization means extra work on my part, I do not begrudge it if it makes my story higher quality.

What, specifically, about your favorite books make them stand above the rest?  Do you look for that in your own writing?

Y is for "You Look Marvelous"

When I create a character's physical appearance I always use an actor/actress as my model.  Lindz over at Rapturous Randomocity is hosting a the Now Starring... Blogfest today. 
 
Details:

The Now Starring... Blogfest! Have your cast list ready to share with the Blogiverse by April 25th, 2011. The premise is simple: 

1.       Choose 4-6 of your lead characters.   
2.       Let us know a little bit about what each of your characters looks like.
3.       Then, pick any actor or actress, they’re all at your disposal. 4.       Finally, apart from their appearance, what about this particular performer makes you think they’ll do your baby justice. What’s that special something that makes them perfect for the part? Their attitude? The way the walk? Their voice? Let us know.

In Courtly Scandals, I cast my main characters as follows:

• Mistress Mary Montgomery, my leading lady, will be played by Julia Roberts, cashing in on the way her smile lights up her face.  She will need to shrink two or three inches and go with the brunette look.
• Sir Charles Fitzjohn, my leading man, will be played by Simon Baker, also based on his smile and the way his eyes almost twinkle.  He's honorable but playful.   He will need to grow a few inches in height.
• Mistress Blanche Parry, the mentor/fairy godmother-esque character will be played by Fionnula Flanagan.  Classy, wise, always dressed with the utmost elegance.  
• Edward Da Vere, the Earl of Oxford, my villain, will be played by Rupert Everett.  He is entitled, debauched, shameless, and funny as all get out. 
• Anne Cecil, the Countess of Oxford is Mary's childhood friend, but is now married to Oxford and has shown herself to be conniving, malicious, and slightly unhinged.  When I picture her, I see a young Sally Field.  Anne seems so delicate and needy with those big eyes, but she has a vicious streak a mile wide.

They all look marvelous, and who would expect less in a romance novel?  In fact, in the first draft of my first book, I had my main character be fairly average in appearance.  This was not well received.  Why?  Because it's about the fantasy.  There's enough real life in our real lives.  So, my cast is full of fabulously beautiful people.

Just for fun, below is a clip from a SNL video and the inspiration for my blog title.

T is for Theme

I am currently working on the third Courtly book.  I have Courtly Pleasures, Courtly Scandals, and now Courtly Abandon.  The books tell the stories of three ladies, Frances, Mary, and Jane, and are set in 1572-1573 England. Each of my main character's deals with personal issues that are specific to their story, but all of them involve a character arc where they realize they are worthy of love, that they deserve happiness. 

I was worried that this commonality made the books too similar in theme.  Out of a fear of falling into a rut and repeating myself, I made a point to make the characters, passion, setting, and plot distinctly different (as different as is possible within the genre guidelines).  Still the theme remains the same.

Jane Lebak at QueryTracker posted an article about sequels that made me feel better.  While her article specifically addressed recurring characters and their consistent growth/changes in a story not designed to stand alone, it helped me see that the common themes tie my stories together and make them stronger as a whole.  Each book individually or all three together, they remind us that every woman is lovable, no matter what came before.

So remember, you're good enough, smart enough, and, doggone it, people like you.

G is for Gardner, as in Gardner's Mutliple Intelligences

My day job is teaching.  For a few years I was a home school facilitator and was really able to help home school parents fine tune lessons to their kids specific learning styles. 

There are 7 9 (they added a couple recently) learning styles:

Verbal-Linguistic Intelligence -- well-developed verbal skills and sensitivity to the sounds, meanings and rhythms of words
Mathematical-Logical Intelligence -- ability to think conceptually and abstractly, and capacity to discern logical or numerical patterns
Musical Intelligence -- ability to produce and appreciate rhythm, pitch and timber
Visual-Spatial Intelligence -- capacity to think in images and pictures, to visualize accurately and abstractly
Bodily-Kinesthetic Intelligence -- ability to control one's body movements and to handle objects skillfully
Interpersonal Intelligence -- capacity to detect and respond appropriately to the moods, motivations and desires of others.
Intrapersonal Intelligence -- capacity to be self-aware and in tune with inner feelings, values, beliefs and thinking processes
Naturalist Intelligence -- ability to recognize and categorize plants, animals and other objects in nature
Existential Intelligence -- sensitivity and capacity to tackle deep questions about human existence, such as the meaning of life, why do we die, and how did we get here.

Personally, when I test I am a musical, verbal/linguistic, and intrapersonal learner.

You may wonder why I am talking about teaching and learning in a blog about writing romance.  Well, my current main character, Jane, is a bodily/kinesthetic, interpersonal, naturalist.  She thrives on movement and experiences and does better in groups than alone.  She craves companionship and is more at home in nature than in controlled society.  She learns by doing, does not care for reading.  In analyzing how she learns, it helps me consider how she behaves, interacts, and grows.

This is just one of the silly little devices I use to avoid archetypal characters.  I also have run astrological charts on Mary (Courtly Scandals) and Jane (my w.i.p. Courtly Abandon).  A fellow blogger, Nicole Ducleroir, commented that she uses the MBTI personality tests.  Do you have any interesting tricks you use to help flesh out your characters?