Greystone Manor Tour Continues

My apologies for abandoning the blog for a couple of months -- and my thanks to the followers who have followed up with me to say they've missed the posts, especially the promised tour of Greystone Manor, the miniature house that my husband built for me.

One of the "residents" of Greystone is a little girl about eight years old. Not a very neat little girl, you'll notice from the way her toys and board games are strewn around her bedroom -- but one with varied interests, from dolls to soccer. Yes, that is a dollhouse at the foot of the bed -- a 1/144 scale Victorian farmhouse that even includes a few pieces of furniture. All the drawers open, and one of these days I really must get her coverlet finished and on her bed...

A question from a reader about creating and using secondary characters prompted me to think about the people in a book as though they were actors in a movie -- complete with pay scales.


If an actor speaks in a movie, even if it's just one line, the pay scale requires that he be paid a great deal more in terms of money and screen credit than if he just walks through as an extra. And of course, the more actors you hire for your movie, the more money you're paying out -- even if most of them don't talk.


So authors can often benefit from asking themselves this question, before they create yet another character: "If I had to pay this person to show up and say these lines, would it be worth the money? Or could I give that comment to a character who's already in the story, and save the fee?"


In writing, of course, extra characters don't actually cost money. But we "pay" for them with space, and word count. Each new person has to be established and identified, and that takes up room on the page. But if we can use a character we already have in the story, then we can save the space it would take to create that second person -- and use it to further develop the hero, the heroine, and the love story.


Though this is especially true in romance novels where we keep a tight focus on the hero and heroine, it's something for every author to think about. Sometimes (like with a cozy mystery or a romantic suspense) we need to have more characters so that the bad guy isn't obvious. But even when the cast is bigger, it's wise to ask -- "Do I need this person? Does he play a significant and unique role in the story?Or can I combine his attributes and his contribution and his dialogue with someone else, and keep things simpler for the reader?"

The tour continues...

This is the dining room of my miniature house, Greystone Manor. The chandelier is electric, but the red candles on the side tables are real. The tea cart at the far end of the room is set up and ready to serve, and the art lying on the dining room table -- waiting to be framed -- are actual watercolors painted by favorite artists. The swinging doors to the left lead to the kitchen, and just visible across the hall is the living room.

Now if I can just get the teeny-tiny maid to come in and tidy up -- straighten the chairs, gather up the used mug, and take those watercolors to the frame shop.... :)

Taking A Bath

While I was in the shower this morning, I found myself thinking about bathing through the ages.

Across the Roman Empire, public baths were popular not only for personal hygiene but for socializing. Sometimes the location of Roman baths was dictated by hydrothermal springs which preheated the water -- as in Bath, England (which wasn't called that until after the end of the Roman occupation. Go figure.)

With the passing of Roman civilization, bathing fell out of favor. By the time of Queen Elizabeth (the last half of the 16th century) doctors thought that bathing wasn't healthy and advised people to wash only body parts which were visible to others.. Exposing the entire body to water at one time? Horrors!

On the few occasions per year when a bath was unavoidable, a large wooden tub was dragged out, lined with cloths to protect the bather from splinters, and filled  with water heated over an open fire. After the bath, the used water was removed by the bucketful and carried outside to discard.

By the start of the Regency period, people were more enlightened about cleanliness and they had better equipment -- metal tubs, often a "hip bath" which allowed the bather to immerse more of the body. But by the time someone set up the tub, heated and hauled the water in, and emptied the used water by the bucketful -- well, she probably needed another bath.

A few very wealthy people started to install special bathing rooms with permanent tubs. The biggest advantage of the permanent tub was a drain hose leading outside, so the used water no longer needed to be dipped from the tub after the bath. But water still had to be heated and carried by the bucket to fill the tub.

Though the Greeks had communal showers which were something like today's locker rooms, the indoor shower didn't become practical until about 1850 -- when indoor sources of running water made it feasible. The earliest Victorian showers were used mostly by men, because doctors of the time considered women too frail to stand up to the pounding of water.

Viscounts and Viscountesses

The rank in the peerage below earls and above barons is that of a viscount -- and though it's tempting to pronouce the S, it's actually silent.

A viscount is often be the oldest son of an earl or a marquess, holding his title as a courtesy based on his father's rank. Or he can be the holder of the title in his own right, if it's the most exalted title in the family. A viscount's wife is a viscountess.

His children don't hold titles, other than being formally addressed as The Honorable Firstname Lastname, and the oldest son of a viscount -- unlike the heir of a higher-ranking peer --is treated no differently from his younger brothers.

Today a viscount's daughters are simply called Miss Lastname, regardless of their order of birth. In the more-formal days of the Regency and Victorian eras, the oldest daughter was given a bit more status by being called Miss Lastname, while her younger sisters were known as Miss Firstname Lastname.

Asparagus Tartlets

1 8-ounce can green or white asparagus

4 ounces cream cheese

1/3 pound carrots, shredded

Combine all ingredients. With a scalloped cookie cutter, cut unbaked pie crust or turnover pastry into rounds; fit into mini-tartlet pans. Fill with asparagus mixture. Bake 18-20 minutes at 375 degrees. Makes 24 to 30 tartlets.

Writing Period Dialogue

It's tough to walk the line between authentic period dialogue and a style the modern reader will find readable.

Words mean different things these days --for instance, "nice" used to refer to a person who was picky and petty and who found fault with everything. Slang from bygone eras can be totally incomprehensible -- when a Regency hero says, "I'll put a monkey on that" he was NOT referring to a small primate with a prehensile tail; he meant 500 pounds sterling which was a huge sum of money for the time.

Slang and period expressions are like salt -- a small sprinkling adds flavor and zest, but too much and you're grabbing for the water glass to wash it away.

I try to write the first draft without fretting too much over what the character says, or how, or whether there's too much dialect/slang or not enough, or exactly which word to use. Then when the story's in place, there's plenty of time for revision.

Greetings from the Regency!

As I sit here in late March suffering the aftereffects of a nasty head cold and remembering the three rules of avoiding infection (1.--Wash Your Hands. 2.--Wash Your Hands. 3.--Wash Your Hands), I can't help thinking about how people in the Regency period did things differently.

No, they couldn't cure the common cold any more than we can. And they didn't even have the benefit of knowing what caused it, because the discovery of viruses was yet to come. But they had one thing right -- they didn't shake hands. No warm handgrips between businessmen. No "pleased to meet you" hands outstretched in greeting. No hands clasped in peaceful greetings in church.

Instead, they bowed or curtseyed -- in greeting, in respect, in acknowledgement of an introduction. Dancers of both sexes wore gloves -- and even the famous kiss-on-the-back-of-the-hand was morely likely to be a brush of his lips against her leather glove, not her bare skin.

I wonder if practicing my curtsey would have kept this stuffy nose at bay...

Six Commandments for the Romance Writer

There's a lot of talk about the "rules" of writing romance novels -- largely because romance is often perceived as being formulaic. (Not true -- but that's a subject for another post, I think.)

But there are a few rules that it's not safe to break, if you want to be published.

1. Remember that you are writing a romance. Not a mainstream novel. Not a travelogue. Not a textbook.

2. Create a likeable heroine. Not Poor Pitiful Pearl. Not stupid. Not a victim.

3. Present an attractive hero. Not a brute. Not a wimp. Not an abuser. Not a stalker.

4. Make the initial attraction and initial conflict plausible. Not an instant hormone attack. Not instant hatred on first meeting.

5. Construct a believable conflict, a real problem between the hero and heroine. Not a misunderstanding. Not interference by malicious other characters.

6. Write a commercial novel, one that readers will enjoy. Not a book they should read for their own education or the improvement of the world, but one they want to read.

Follow those six commandments, and your story will stand a much better chance of reaching the bookstore shelves and the reader’s hands!

FAQs -- How Do You Research Jobs?

The heroes and heroines in my 80 contemporary romance novels have held a whole lot of different kinds of jobs, and I'm often asked if I actually did all those things. Was I a banker, a lawyer, a hotel manager? Did I run a bookstore or a B&B?

No to all of those. Maybe in my next life.

I had a fair number of short-term jobs before I settled into full time writing. My longest-lasting job was as a librarian, so when I wasn't busy with my regular duties, I was wandering the stacks and exploring all the intriguing new directions I found. (And even my regular duties helped -- as I re-shelved books, I speed-read them and set aside the ones I wanted to study more thoroughly.) And perhaps most importantly, I'm a reporter by training, so long ago I learned to ask the questions necessary to get a feel for someone else's profession and their daily routine, in order to write feature stories about them.

I was also selective about the jobs I chose and how I handled them. There are professions I never tackled, like law enforcement -- I figured it would be too hard (for me!) to make a cop sound and act like a cop. Or if it was a complex job, I sometimes gave it to the hero -- whose head I was in less frequently -- rather than to the heroine. And then I checked it out with a pro. In the case of my sexy pediatrician hero, that meant having a friend who's a doctor read the manuscript to see if I'd gotten the tone right.

The toughest story, I think, was the book about the two architects -- because their conversation had to always be on a professional level. One of them couldn't exactly explain to the other who Frank Lloyd Wright was and why his Prairie School of architecture was important!

Another challenging profession was in The Takeover Bid, where my heroine ran a junkyard that she'd turned into a classic car business. Though I resisted, she just would not do anything else, so I gave in and read up on classic cars. And when I wrote the book about the two lawyers (The Fake Fiance) I took my attorney to lunch and picked his brain about when attraction crossed the line into unethical behavior.

People love it when their professions are shown accurately and positively, so most of them are happy to help writers get it correct. It helps to have some scenarios in mind of things you'd like your characters to do, and then you can ask concrete questions.

Starting Them Young

My eight-year-old granddaughter, reading her very first romance novel (my sweet traditional contemporary, The Takeover Bid -- chosen because it includes a dog named Scruffy and no actual love scenes). I'll keep you posted about how she likes it!