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Regency Rites: Presentation at Court

A young girl’s come-out in Polite Society started with her presentation at Court. During Regency times, she would “make her curtsy to the Queen”, be honored with a large ball given by her family at their London residence, and if she were very fortunate, receive a voucher for Almack’s, the exclusive “marriage mart” to which all marriage-minded misses and their mothers yearned to be invited. (See previous post)

Wide hoops popular in the previous century were obligatory, even during the Regency when waistlines moved higher, and the result was considered ridiculous even then. But Queen Charlotte insisted, and…well…who was going to argue with the Queen?

courtdressgeorgian
An example of Georgian dress featuring hoops so wide the lady was obliged to walk sideways through doorways. But imagine these same hoops on high-waisted gowns such as those of the Regency period!

The elaborate gown consisted of a bodice, followed by a narrow hoop covered by layers of skirts. In her Memoirs, the Comtesse de Boigne describes “a satin skirt lavishly decorated with silver embroidery topped by a tulle skirt featuring a silver lace furbelow. The shortest and top skirt was made of silver-spangled tulle decorated with a garland of flowers. This last skirt was turned up and tucked so that the garland draped crosswise all around the skirt. To complete the proper style, the bottom of the white satin dress was turned up in loops and did not reach the base of the hoop skirt. Only the queen wore a train.” (see footnote)

In addition to the gown, an elaborate headdress with at least seven ostrich feathers was required. “The Comtesse’s head-gear beneath her plumes consisted of a garland of white roses upon a ringlet of pearls, a diamond comb, diamond buckles, and white silk tassels.” (see footnote)

It was also obligatory to display as much jewelry as possible, no matter how ridiculous it might appear. It is not surprising that these outfits cost an enormous amount of money in themselves, even though they might never be worn again.

courtdress2In fact, considering the cost of the court dress, an extensive wardrobe, the come-out ball, a suitable residence in the most exclusive part of town, and enough servants to staff it, only the very wealthy could afford such lavish expenditures. These things were necessary, however, if one wished one’s daughters to marry well—title, family connections, and wealth—and it’s not difficult to visualize a father with several daughters or one who didn’t “take” the first season agonizing over the huge amounts of money flowing out of the family coffers. Undoubtedly, the young ladies were well aware of their parents’ expectations; after all the money spent, they’d better not do something stupid like allow themselves to be ruined or fall in love with a penniless man.

On the day of the presentation, the young ladies would arrive in a long procession of carriages.down Piccadilly Street to St. James’s Palace. Amidst trumpets and gunfire, they would proceed into the palace and join the crush of richly-dressed ladies in ostrich plumes, hoop skirts, and diamonds. It was an exciting, but terrifying, initiation into the top echelons of London society. Each girl would be led to the Queen, make her curtsy, exchange greetings and perhaps pleasantries with Her Majesty, and then walk backwards out of the room (one should never turn one’s back on royalty), hoping against hope that she didn’t trip or cough or do something to earn the Queen’s disapproval.

Afterwards, during the remainder of the Season, there were balls and routs, trips to the opera, the theater, Vauxhall Pleasure Gardens and Hyde Park, Venetian breakfasts and ridottos (although not masquerades, since they were considered only for the fast set), and all manner of exciting social events where a young lady could establish herself in London Society…and make the acquaintance of many suitable gentlemen themselves seeking eligible matches.

courtdressmale
The gentlemen’s court dress didn’t change as dramatically as the ladies’ did. (The wig is from an earlier period.)

This all sounds thrilling, but for some reason, I seem to prefer writing romances with more down-to-earth characters in less grand settings. Perhaps because I’m a farmer’s daughter at heart? But as much as I enjoy reading and imagining such things, I still prefer characters who can be blissfully happy without all the glitter and the falderal.

What do you think? Can you visualize yourself “making your curtsy to the Queen”?

The Regency Companion, Sharon Laudermilk and Theresa L. Hamlin, Garland Publishing, Inc., 1989, p. 24.

The Regency Rites series

Regency Rites: The Well-Dressed Regency Lady 

Regency Rites: Presentation at Court

Regency Rites: Almack’s Assembly Rooms 

Regency Rites: The London Season

The Blue Stockings Society and Benjamin Stillingfleet

In the Regency era, a young lady who gained the reputation of being a bluestocking would likely find herself “holding up the walls” as a wallflower at a ton event, since it was not the thing for a woman to be more educated than a man. Women were to be beautiful, fashionable, eloquent yet demure, and proficient in the social graces. A typical lady’s education would include reading, writing, geography, history, embroidery, drawing, French (or at least some French phrases), music, dancing, and, of course, riding, should her family have the means for a stable.

While there were, of course, learned ladies in society, it was thought prudent to keep one’s scholarly achievements private in order to avoid the bluestocking label, particularly for a young lady on the marriage market, which most genteel young ladies were. One hint that she might have blue tendencies could ruin her reputation and her opportunities for an advantageous marriage. And for most young ladies, marriage was the decision of a lifetime. Since divorce was nearly impossible and the husband held all the cards in the relationship, a mésalliance could very well mean a lifetime of misery and regrets.

In spite of this, there did exist a smattering of ladies—even some young, unmarried ladies—who defied prudence and flaunted their academic superiority to all and sundry. Some were married already, probably to indulgent husbands or those who were scholarly themselves. Those who were unmarried typically disdained the traditional role of women and did not aspire to giving some man control over them, although presumably these, too, were blessed with indulgent families with enough wealth to support a daughter for the rest of her life. There were some, like Hannah More, who, although she eschewed the frivolity of the ton, advocated the traditional role of marriage as the ideal for women, even though she herself never married.

Elizabeth Montagu

In the mid-eighteenth century, Elizabeth Montagu and Elizabeth Vesey, among others, founded a women’s literary discussion group, that later came to include gentlemen as well. The society promoted education for all (including women and the poor). Several prominent members of the society, which came to be known as The Blue Stockings Society, were (at one time or another):

  • Elizabeth Montagu: social reformer, patron of the arts, salonist, literary critic, and writer who helped organize and lead the Blue Stockings Society
  • Elizabeth Vesey: a wealthy patron of the society
  • Samuel Johnson: poet, essayist, moralist, literary critic, biographer, editor and lexicographer
  • Anna Williams: poet and companion of Samuel Johnson
  • David Garrick: English author and playwright, friend of Samuel Johnson
  • Anna Laetitia Barbauld: a prominent English poet, essayist, literary critic, editor, and children’s author
  • James Beattie: Scottish poet, moralist, and philosopher
  • Frances Boscawen: literary hostess and correspondent
  • Edmund Burke: Irish statesman, author, orator, political theorist and philosopher
  • Frances Burney: novelist, diarist, and playwright
  • Elizabeth Carter: poet, classicist, writer, and translator
  • Margaret Cavendish-Harley: Duchess of Portland, and scholar/collector of natural history
  • Hester Chapone: author of conduct books for women
  • Mary Delaney: artist and letter-writer
  • Sarah Fielding: sister of Henry Fielding, novelist herself, who wrote the first children’s novel
  • Ada Lovelace: daughter of Lord Byron and his wife Annabella Millbank (who was a scholar herself), a noted mathematician and considered to be the first computer programmer
  • Catharine Macalay: historian
  • Hannah More: religious writer and philanthropost (see earlier post on this blog)
  • Sarah Scott: novelist, translator, social reformer, and sister of Elizabeth Montagu
  • Sir Joshua Reynolds: prominent portrait painter
  • Horace Walpole: art historian, man of letters, antiquarian, and Whig politician

Benjamin Stillingfleet

The name of the group supposedly came from an invited guest, Benjamin Stillingfleet, a noted botanist and scholar, who wore blue worsted stockings to the meetings because he could not afford the requisite black silk ones. Since the group prided itself on valuing conversation over fashion, the term bluestocking was more of a jest than a slight in the early days of the society. It was later that it became a term of shame and derision when applied to a young lady.

Stillingfleet was the son of a physician who attended Cambridge and worked as a tutor to his young relative, William Windham. He later accompanied Windham on a Grand Tour of the Continent, where they lingered several years, doing, among other things, scientific studies of the glaciers, for which his protégé was later honored as a Fellow of the Royal Society.

A bluestocking heroine, you say?

It can be done, of course. I’ve read dozens—if not hundreds—of historicals with bluestocking heroines. But she needs a special sort of hero, doesn’t she?—one who has enough confidence in his own abilities to appreciate and desire to nurture hers. Or at least, that’s what he needs to become by the end of the story. And I think it’s also important for him to be able to draw her out of her preoccupation with academics and into the real world on occasion as well.

However, in order to become a bluestocking in the first place, a heroine would need to have been brought up in a manner that would make this possible. A rare, scholarly family, perhaps, or a negligent one that doesn’t realize how much time she spends with her brother’s tutor and is properly horrified when they discover it. Because any girl tagged as a bluestocking would become the object of much derision and gossip by the high-sticklers of society, and these high-stickers never forgot such things, even when they were proven untrue. A marriage-minded miss and her mother would be horrified at the very thought.

Donning my teacher hat

As a former teacher, I cannot help comparing this to the seeming popularity of idiocy in modern culture, at least among the youth (I was a middle school teacher). It’s always been a concern of mine that adolescents—particularly girls—play down their intelligence in pursuit of popularity. Frankly, I’ve never understood it, not even when I was that age. Why anyone should eschew their God-given intelligence in order to cater to someone else’s insecurities is beyond me. One would think that we would have evolved beyond this by now, especially with the job market being so competitive, but I’ve seen too many students of both genders fail to take advantage of their academic abilities and end up with lives on the fringes of success. And frankly, all the standardized tests in the world are not making a whit of difference in the status quo.

That’s what I think anyway. What do you think? Do you think movies like Dumb and Dumber only serve to lower the value of serious scholarship among our young people?

Blog Barrage for Treasuring Theresa

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CBLS Promotions is sponsoring a Blog Barrage for Treasuring Theresa today and tomorrow. Check out the stops and enter the Rafflecopter contest for my newest treasure box (including UK souvenirs) (see below).

Lovely wooden box, 2013 Ellora's Cave playing cards (for adults only), sheep soap, James I and II necklace, Union Jack sequined coin purse, plaid bagpipes Christmas ornament, Treasuring Theresa key chain, plaid pen, crown pencil, fizzing bath crystals

Mark Your Calendar

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Coffeetime Romance Chat 

August 24  • 8:00-10:00 p.m. EDT

Eight Authors • Eight Giveaways

Theme: Historical Romance

Participating Authors

Aileen Fish
Shelly Munro
Lexi Post
Susana Ellis
Amy Hearst
Sasha Cottman
Sabrina York
Julie Johnstone

It’s Party Time for Susana’s Parlour!

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Susana’s Parlour was born a year ago, after I returned from my first RWA conference, in Anaheim, California. I had the time of my life there—especially in the evenings when my friend Selene Grace Silver took me Laguna Beach and other nearby sights. It was magical!

I knew from my local RWA chapter mates that I would need a blog eventually, but at the time I was an unpublished author and didn’t really expect to be published right away. I mean, don’t most writers have to plug away for a few years before they get “the call”? But I guess I finally allowed myself to be convinced that waiting until then to start a blog was a mistake.

So…what to write about? I decided I didn’t want it to be an “author” blog—where the author talks about the daily struggles of writing. It would be a “reader” blog, for those readers who enjoy reading historical—especially Regency—romances as I do. As far as content, I decided to use an article I had begun about my pet peeves in historical romances. And that’s how the “Deal Breakers” series began.

It was only two months later that I did get “the call”—or rather, “the email”—and by January, I was a published author!

That’s about when Lady P popped in to inspire me with all of her fascinating tidbits about the Regency era. And things just spiraled from there.

So what’s in store for the next year on Susana’s Parlour? Well, I’ve discovered that it’s hard to predict what Lady P will do, but she promises that she will be back at summer’s end when the weather in England starts to chill…and will be removing with me to central Florida for the winter. She’s anxious to see a real alligator and insists she wants to go to Disney World too. Will I ever get any writing done at all with her there???

But she assures me that she has lots of great things to talk about. Even though she spent most of the summer in the country with her daughter’s family, she will be in London for the Little Season and promises to bring back all the latest on-dits and fashion news. And it should be fun to introduce her to the other inhabitants of our retirement community. I wonder if they played bingo in Regency times. Hmm.

Announcement, announcement, annou-ounce-ment!

I’ve just contracted with Ellora’s Cave to have my Christmas novella published this season! It will come out digitally as a single and then in a print anthology with other Regency Christmas stories in the Christmas traditions series.

Yep, you heard right! It’ll be in PRINT!

I can’t post an excerpt yet because the edits haven’t been completed and the final product might look a whole lot different. But I can give you a little sneak peak.

About A Twelfth Night Tale

Wounded physically and emotionally, Andrew returns home from the War on the Peninsula to find himself drawn to the now-grown-up girl next door. Lucy has always worshiped her best friend’s brother, but first she’ll have to turn down the wealthy viscount who can secure the futures of her and her four sisters.

Lucy and her best friend Jane are busy planning a party for the community Twelfth Night celebration. Jane’s brother Andrew has been home for some time when they finally run into each other, and Andrew can’t believe what he sees. The little girl who used to tag along after him everywhere he went has grown into a beautiful young lady! He tries to convince himself she’s off limits; after all, he was recently jilted by an avaricious fiancée and she’s being courted in earnest by a wealthy viscount. But the more time he spends with Lucy, the more drawn to her he becomes, and he wonders if he might have a chance with her after all.

Lucy has loved Andrew forever, but thought him lost to her when he became engaged to another woman. Her parents have five daughters to marry off with little in the way of dowries, and it seems like an answer to prayer when a wealthy viscount comes to call on their oldest daughter. Lucy has just about resigned herself to the match when she and Andrew—sans fiancée—are suddenly thrown together. But he’s still coming to terms with his own situation, and she can’t keep the viscount hanging on forever.

If there is any chance for a match between them, it’s going to take a bit of Christmas magic to make it happen.

Contest on The Romance Studio’s End-of-Summer Bash

Test Your Knowledge of Regency-Speak…and win a blue silver and marcasite cameo necklace!

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This contest ends at the end of the day Friday, August 16th

Historical Romance Deal Breaker #6: Heroes With Mistresses or Who Sleep With Servants

susana's avatarSusana's Parlour

Literally decades of reading historical romances have led me to develop strong opinions of what defines a truly satisfying story, so the other day I set about making a list of characteristics that turn a potential five-star read into a one- or two-star. Admittedly, there are some skillful authors who manage to successfully incorporate one or more of these scenarios in their books; however, I have run across quite a few more who in my opinion haven’t quite managed it.

These are what I call “deal breakers”—characteristics that make a book a wall-banger instead of a pleasurable diversion. Not surprisingly, many involve character, particularly, the character of the hero and heroine. They have to be likable. They have to be three-dimensional, i.e., well-drawn-out characters with flaws, not fairy princesses. And they have to be able to fall in love, convincingly, the head-over-heels kind of love.

Overview of Susana’s Historical Romance Deal…

View original post 492 more words

Historical Romance Deal Breaker #5: Unattractive or Drop-Dead Gorgeous Heroines

Blast From the Past: Susana has been busy traveling in Scotland and attending the RWA Conference this month, and she thought some of you might enjoy revisiting some of her previous posts on Susana’s Parlour.

Decades of reading historical romances have led me to develop strong opinions of what defines a truly satisfying story, so the other day I set about making a list of characteristics that turn a potential five-star read into a one- or two-star. Admittedly, there are some skillful authors who manage to successfully incorporate one or more of these scenarios in their books; however, I have run across quite a few more who in my opinion haven’t quite managed it.

These are what I call “deal breakers”—characteristics that make a book a wall-banger. Not surprisingly, many involve character, particularly, the character of the hero and heroine. They have to be likable. They have to be three-dimensional, i.e., well-drawn-out characters with flaws, not fairy princesses. And they have to be able to fall in love, convincingly, the head-over-heels kind of love.

Overview of Susana’s Historical Romance Deal-Breakers

  1. Reluctant Heroes
  2. Adultery
  3. Anachronistic Behavior and Historical Inaccuracies
  4. Cliffhanger Endings
  5. Unattractive or Drop-Dead Gorgeous Heroines
  6. Heroes With Mistresses or Who Sleep With Servants
  7. Drop-Dead Gorgeous Heroes
  8. Promiscuous Heroines
  9. Contrived Endings
  10. Waifs and Silly Heroines
  11. Long Separations
  12. Excessively Cruel Heroes and Heroines
  13. Breaking the Rules: Why Some Authors Get Away With It

 

Historical Romance Deal Breaker #5: Unattractive or Drop-Dead Gorgeous Heroines

  • Heroines who are fat and/or described as “plain” or unattractive

Like the majority of readers, I am not the most attractive person out there. I’m middle-aged, struggle with weight issues, and use artificial means to enhance my hair and facial features. I consider myself “average.”

Also like the majority of readers, I like to fantasize about being more attractive and irresistible than I am. When I read, I’m picturing myself as the heroine; her experiences are mine, right up to the HEA at the end.

It just doesn’t do it for me when the heroine seems to have virtually *no* physical attractions. Especially when this is paired with too many psychological issues stemming from her doubts about her physical appearance. A little of this goes a long way, for me. I want the story to be about the characters falling in love. If I wanted to read a story that is more psychological drama than romance, I wouldn’t read romance.

While the heroine does not have to be drop-dead gorgeous (see below), she absolutely must have some attractive qualities. She might have mousy brown hair, but her figure should be unobjectionable and she might have the most intriguing grey eyes.  Maybe her breasts aren’t voluminous, but she has a small waist and neat ankles (whatever that is). She may be considered plain by many, but we get to see from the beginning that the hero finds some things about her attractive, which become even more appealing once he becomes better acquainted with her.

You get the drift.

Considering the growing number of books featuring fat and unattractive heroines—and the readers who seem to rave over them—I wonder if I’m in the minority here.

However, I also have a problem with:

  • Heroines who are so beautiful and sweet that everyone falls in love with them (even birds and wild animals)

I also find it difficult to identify with heroines who are too perfect. (Actually, I want to slap them silly.)

In a romance it is important to create three-dimensional characters because the characters are the story. If the main characters in your story are too good to be believed, you risk your story becoming a Disney movie, with its happy cartoon characters sailing off into the sunset. Even if you enjoy cartoons, surely you have to wonder if Cinderella and her prince really did live happily ever after without ever once clashing over raising the children or the price of glass slippers. You don’t have to be diabetic to suffer from the effects of consuming too much sugar.

A heroine can be beautiful, but she has to have some flaws too. Perhaps she perceives her nose is too long. Or she’s too tall or too short. Or her hair is too dark to be the current trend.

Her flaws can also be emotional. Perhaps she fears that people only like her because of her physical attractions. (I had a roommate like that once; I never thought she was that beautiful. Oh well.) Or she’s plagued with shyness. Or she blurts out things better left unsaid. Or she thinks she is unworthy because of her birth or social class or a past indiscretion.

adore a good HEA. I feel cheated if I don’t get one. But I want them to seem at least somewhat realistic. I want to be convinced that my hero and heroine love each other enough—have survived enough challenges as their romance developed and matured in the story—that their relationship is strong enough to survive the uncertainties of the future.

Am I the only one who feels this way? Have you run across any five-star reads with extremely ugly or extremely attractive heroines? Do tell!

 

Regency Rites: Almack’s Assembly Rooms

What was Almack’s?

Almack’s was founded in 1765 by a Mr. McCall. The building was located on King Street just off St. James Street* and included a large ballroom, as well as supper rooms and card rooms.

Almack’s was ruled by a select committee of society matrons known as the Lady Patronesses. These ladies ruled the club with an iron hand; only the crème de la crème (about 25%) of London society were authorized to cross the threshold of this exclusive circle. Each application for membership was carefully scrutinized by the high-handed patronesses, who were not above using their power for retribution against their rivals or other personal reasons.

The food served was not of the best quality. Alcohol was not served—only tea and lemonade.The floor of the ballroom was said to be dreadful, and the rigid rules set by the patronesses could not be broken by anyone. It is said that the Duke of Wellington, the hero of the Peninsular War, was refused admission because he did not sport the proper dress—knee breeches, white neckcloth, and a long-tailed coat. The doors were locked precisely at eleven o’clock and no one was allowed in after that for any reason. There was a long list of”do’s” and “don’ts” (mostly don’ts) for the young debutantes, and any infraction could result in expulsion from the club and social censure. When the waltz was finally given the seal of approval—it was condemned for years as being scandalous due to the close proximity of the dancers’ bodies—the young ladies had to be individually approved to dance it by one of the patronesses.

Almack's Assembly Rooms

Almack’s Assembly Rooms

Almack’s balls were decidedly not anywhere near the grandest balls of the London Season, so why did the matchmaking mothers of the haut ton scramble to get their hands on those square cardboard vouchers that would gain them admittance?

One word—marriage. Almack’s was the exclusive “marriage mart” of the ton. While potential spouses for your sons and daughters could be found elsewhere, the “best” ones could ideally be found at Almack’s, where the average, everyday riffraff need not apply. Who wouldn’t want their daughter to find a wealthy, well-connected—perhaps titled—spouse to enrich the family fortunes? Matchmaking mothers everywhere yearned to have their marriageable offspring included among the exclusive company of Almack’s.

Who were the Patronesses?

The Lady Patronesses—six or seven at any one time—were:

Lady Castlereagh

Lady Castlereagh

Lady Castlereagh (Emily Anne) was a wealthy earl’s daughter who married the Viscount Castlereagh (later the 2nd Marquess of Londonderry), who held many political posts (Secretary of States for War, Secretary of State for Foreign Affairs, and leader of the House of Commons) during the period. Lady Castlereagh was the one who insisted that the door to Almack’s be closed promptly at eleven. She and Mrs. Drummond Burrell were both known for their disdainful arrogance.

Lady Jersey

Lady Jersey

Lady Jersey, “Queen Sarah,” “Silence,” or “Sally” to her close friends was the wealthy daughter of the 10th Earl of Westmoreland who married the 5th Earl of Jersey. Lady Jersey’s mother-in-law, Lady Frances Jersey, was at one time the mistress of the Prince of Wales (it was she who recommended he choose Princess Caroline for his wife), and her parents eloped to Gretna Green (quite the scandal). Lady Jersey’s younger sister married the brother of the scandalous Lady Caroline Lamb, but when the latter ridiculed her in her vengeful novel Glenarvon, Lady Jersey barred her from Almack’s forever.

Lady Sefton

Lady Sefton

Lady Sefton (Maria) assisted many a green girl to negotiate the hazards of the marriage mart. Her husband was an enthusiastic sporting man, and a member of the Four-in-Hand Club (an elite club for only the best drivers).

Lady Cowper

Lady Cowper

Lady Cowper (Emily) was the daughter of the great political hostess, Lady Melbourne, and due to her mother’s numerous affairs, her paternity was never verified. She disapproved of her sister-in-law, Lady Caroline Lamb, but was otherwise known as one of the kindest of the patronesses.

Princess Esterhazy

Princess Esterhazy

Princess Esterhazy (Thérèse) was the grand niece of Queen Charlotte and never let anyone forget it. Her husband Prince Paul Esterhazy served as the Austrian ambassador to England 1815-1842. She and the Countess Lieven demonstrated the utmost in continental sophistication.

Countess Lieven

Countess Lieven

Countess Lieven (Dorothea) was the first foreigner to serve as a patroness of Almack’s. Her husband the Count was the Russian ambassador to England from 1812 to 1834. Besides being a leader of London society, she was a significant political force in Great Britain, France and Russia.

Mrs. Drummond Burrell

Mrs. Drummond Burrell

Mrs. Drummond Burrell (Clementina) was a great heiress and daughter of an earl who later became a baroness when her husband succeeded to his father’s title. Although one of the younger patronesses, she was considered the most arrogant and haughty of them all.

Appearance was everything.

It’s interesting to note that while London society, as demonstrated by the Lady Patronesses, demanded a high degree of moral perfection, it was really the façade that counted. As long as you behaved with discretion—i.e., didn’t get caught—you could have adulterous affairs with impunity. While it was expected that wives would remain faithful to their husbands until the birth of an heir or two, after that, it was quite common for both husband and wife to indulge in affairs. It was widely known that Lady Melbourne had affairs with politically powerful men who fathered many of her children, but her the importance of her position precluded any open censure.

Most of the Lady Patronesses of Almack’s had notorious affairs. Emily Cowper, taking the advice of her mother, the above-mentioned Lady Melbourne, to be true to her lover rather than her husband, had a long affair with Lord Palmerston, who later became Prime Minister, and after her husband died, they married and lived happily ever after.

As long as it was behind closed doors—and you were wealthy and important enough—you could get away with a considerably lower standard of behavior. Of course, marriages tended to be more about property, wealth and family connections than any sort of love or affection, so perhaps such scenarios were a natural result of cold-blooded unions.

The King Street location of Almack’s is an office building now; when I was there two weeks ago, it was covered with scaffolding. Christie’s Auction House is across the street.

The Regency Rites series

Regency Rites: The Well-Dressed Regency Lady 

Regency Rites: Presentation at Court

Regency Rites: Almack’s Assembly Rooms 

Regency Rites: The London Season

Regency Rites: The London Season

The Haut Ton

The haut ton referred to the members of some three hundred families who owned large estates that supplied their primary income. Sometimes they were called “the upper ten thousand.” Not all were titled, but they were usually at least well-connected and wealthy enough to stand the enormous expenses of socializing with the crème de la crème of English society, which included:

  • owning or renting a suitable residence in a fashionable area of London (in addition to a great country home on their estate), along with the requisite servants, stables, etc.
  • extensive wardrobes in the first stare of fashion for all members of the family who participated in the Season
  • food, drink, decorations, musicians, etc. required to provide entertainment for other members of the ton in grand style
  • costs of renting theatre boxes, purchasing entrance tickets to public entertainments, such as the Vauxhall Pleasure Gardens, Astley’s Amphitheatre, etc.
  • allowance or pin money for wives, sons or daughters.

What was the London Season?

Lady Theresa

Lady Theresa

The London Season evolved from the legislative sessions of Parliament, which would run roughly from January/February to June. Generally, a peer would bring his family to London sometime after the holidays, which provided a perfect opportunity for their families to socialize and seek suitable spouses for their children. The Season didn’t heat up until spring, though, and by the end of June, most of the first families escaped the odiferous heat of London for the fresh air of their country estates or perhaps a seaside resort.

Many families would return to London in September for the “Little Season,” which was much less prestigious, but few were left in Town by the end of November.

Essentially, anyone who was anyone would participate in the London Season, even if they had to run up enormous debts to do it.

In Treasuring Theresa, an earl’s daughter such as Lady Theresa would be expected to have a London Season and make a suitable marriage. Unfortunately, however, her first Season was unsuccessful, and later, there was no money for it, so when childhood sweetheart Reese Bromfield broke her heart by betrothing himself to another, Lady Theresa’s options for marriage were limited. Incidentally, Reese Bromfield, as the son of a squire, was not highly-connected, but as the son of a wealthy member of the gentry, he would have been welcomed to participate in the ton, although not, perhaps, in the highest circles.

What did people do in the London Season?

Vauxhall Pleasure Gardens

Vauxhall Pleasure Gardens

London offered—and still does to this day—an endless number of delights for visitors, regardless of status. In the early 19th century, one could walk or ride through the park (Hyde Park or Green Park were quite popular), visit the British Museum or any number of museums or galleries, attend a circus performance at Astley’s Amphitheatre, visit the Pleasure Gardens of Vauxhall with its nightly fireworks, and attend the theatre or opera. The best shopping in the world could be had on Bond Street, and for the gentlemen there was racing, boxing, gaming, and all sorts of attractions that couldn’t be found on a remote country estate.

For the haut ton, there were balls and parties, soirées, routs, musical evenings, Venetian breakfasts, al fresco teas, extravagant dinners…all sorts of opportunities to hobnob with wealthy aristocrats and politicians and make connections that could potentially lead to even higher status and prestige.

Hyde Park

Hyde Park

It was all great fun—but very expensive, especially for those who succumbed to the gambling fever. Entire fortunes were won and lost in this period—and not just by the gentlemen either. Before she died in 1806, Georgiana, the Duchess of Devonshire, had lost what amounts today to a billion dollars. (See Lady P’s insights on that here.)

What did people do the rest of the year?

Whatever they wished! Many spent the summer on their country estates, which generally sported expansive mansions with huge ballrooms that could be used for house parties, during which they would entertain their friends from other parts of England for a week or more. Sometimes gentlemen took a personal interest in their estates, but often the management was left to a steward or estate manager so that the owner was free to participate in local society, or travel to the seaside, or take the waters at a spa resort, such as Bath. Hunting and fishing were popular sports for the gentlemen.

Damian Ashby, Lord Clinton

Damian Ashby, Lord Clinton

In Treasuring Theresa, Damian Ashby was a society dandy who despised the country, except for the income it provided him. Lady Theresa despised the superficiality of the ton and preferred life on her country estate, where she counted among her friends villagers and commoners, as well as the local gentry. How will these two seemingly complete opposites manage to bear each other’s company for an extended period of time as her dying father wishes?

About Treasuring Theresa (a sweet Regency short story)

At the betrothal ball of the man she had expected to marry herself, Lady Theresa latches on to Damian Ashby, hoping to divert attention from her own humiliating situation. Of course, she’s not seriously interested because he’s a useless London fribble, in her opinion. He is not favorably impressed with her either.

Still, she’s the daughter of an earl, and he’s the heir to her father’s title and estate, so they are destined to spend more time in each other’s company…sooner rather than later. And who knew that the two of them would develop an unlikely attraction to one another?

But can a London swell and a country lady ever make their diverse lives and interests work together?

Note: Excerpts and additional reads—including an epilogue to this story—are available here.

Available

Ellora’s CaveAmazonBarnes & NobleAllRomance eBooksKobo

The Regency Rites series

Regency Rites: The Well-Dressed Regency Lady 

Regency Rites: Presentation at Court

Regency Rites: Almack’s Assembly Rooms 

Regency Rites: The London Season

Historical Romance Deal Breaker #4: Cliffhanger Endings

Blast From the Past: Susana just got back from traveling in Scotland and she thought some of you might enjoy revisiting some of her previous posts on Susana’s Parlour.

Decades of reading historical romances have led me to develop strong opinions of what defines a truly satisfying story, so the other day I set about making a list of characteristics that turn a potential five-star read into a one- or two-star. Admittedly, there are some skillful authors who manage to successfully incorporate one or more of these scenarios in their books; however, I have run across quite a few more who in my opinion haven’t quite managed it.

These are what I call “deal breakers”—characteristics that make a book a wall-banger. Not surprisingly, many involve character, particularly, the character of the hero and heroine. They have to be likable. They have to be three-dimensional, i.e., well-drawn-out characters with flaws, not fairy princesses. And they have to be able to fall in love, convincingly, the head-over-heels kind of love.

Overview of Susana’s Historical Romance Deal-Breakers

  1. Reluctant Heroes
  2. Adultery
  3. Anachronistic Behavior and Historical Inaccuracies
  4. Cliffhanger Endings
  5. Unattractive or Drop-Dead Gorgeous Heroines
  6. Heroes With Mistresses or Who Sleep With Servants
  7. Drop-Dead Gorgeous Heroes
  8. Promiscuous Heroines
  9. Contrived Endings
  10. Waifs and Silly Heroines
  11. Long Separations
  12. Excessively Cruel Heroes and Heroines
  13. Breaking the Rules: Why Some Authors Get Away With It

The fourth deal breaker is cliffhanger endings.

There’s nothing more annoying than to get to the last chapter of a book and discover that it’s not the end. That you have to buy another book to find out how your protagonists fared.

If I really care about the characters, I may buy the sequel. But I am seething inside, and any chance I will ever trust that author again is virtually gone. Even if it’s a favorite author.

If the sequel isn’t even available yet, there is no chance I will buy it. Because months later, I won’t likely care about those characters anymore.

Why do authors cheat their readers this way? If it’s meant as a technique to promote books, it’s a misguided one indeed. Nobody likes to be teased or manipulated. Eventually, readers will get disgusted and move on.

I adore a good romance series, with cameo appearances by protagonists from previous books. I love it when secondary characters from a previous book become the protagonists in the sequel. If the books aren’t spaced too far apart (i.e., I haven’t had time to forget all about them), I will buy all of them just to make sure my old friends are still doing well.

But if there’s no satisfactory HEA at the end of the book—if I discover that instead of being rewarded for their suffering, my hero and heroine have more tribulations in store for them in the next book—I’m seriously wanting my money—and my time—back.

What do you think? Are there some authors who can get away with teasing their readers with cliffhangers?

Historical Romance Deal Breaker #3: Anachronistic Behavior and Historical Inaccuracies

Blast From the Past: Susana is traveling in Scotland this week and she thought some of you might enjoy revisiting some of her previous posts on Susana’s Parlour.

Decades of reading historical romances have led me to develop strong opinions of what defines a truly satisfying story, so the other day I set about making a list of characteristics that turn a potential five-star read into a one- or two-star. Admittedly, there are some skillful authors who manage to successfully incorporate one or more of these scenarios in their books; however, I have run across quite a few more who in my opinion haven’t quite managed it.

These are what I call “deal breakers”—characteristics that make a book a wall-banger. Not surprisingly, many involve character, particularly, the character of the hero and heroine. They have to be likable. They have to be three-dimensional, i.e., well-drawn-out characters with flaws, not fairy princesses. And they have to be able to fall in love, convincingly, the head-over-heels kind of love.

Overview of Susana’s Historical Romance Deal Breakers

  1. Reluctant Heroes
  2. Adultery
  3. Anachronistic Behavior and Historical Inaccuracies
  4. Cliffhanger Endings
  5. Unattractive or Drop-Dead Gorgeous Heroines
  6. Heroes With Mistresses or Who Sleep With Servants
  7. Drop-Dead Gorgeous Heroes
  8. Promiscuous Heroines
  9. Contrived Endings
  10. Waifs and Silly Heroines
  11. Long Separations
  12. Excessively Cruel Heroes and Heroines
  13. Breaking the Rules: Why Some Authors Get Away With It

Deal breaker #3 is: anachronistic behavior and historical inaccuracies.

So many of the newer historical authors seem to be turning out what I consider contemporary stories in historical settings, and it seems as though many readers don’t care. The curvy girl on the cover wears a beautiful gown, and the novel is full of balls and handsome dukes, and if the girl sneaks out to the garden and engages in steamy sex with someone, reviewers praise it to the heavens for being “hot.” Am I the only one who questions the assumption that a gently-born young woman would be allowed to accompany a gentleman on the terrace for more than five minutes without her chaperone coming to look for her?

While I have to acknowledge that readers new to this genre may not recognize these problems, too many indications of the author’s ignorance of the time period can ruin a book for those of us who know better. And it may well be that the author doesn’t care. If all she is looking for are a few extra dollars and some temporary éclat, the ease of self-publishing can give her the platform, and her devoted friends and family can shower her work with favorable reviews until she moves on with her life.

Unfortunately, it’s not just the self-published stories that feature egregious historical inaccuracies. It seems as though the editors—if they still exist—are also unfamiliar with the time periods of the books they handle. Either that or they are so over-worked they hope the readers will be too engrossed in the story to balk at a few “minor” issues. And it’s true: I find I can ignore a problem or two in an otherwise wonderful read. However, if there are too many, or if the entire plot is dependent upon some unlikely scenario, that’s when the book ceases to be a pleasurable experience and becomes a wall-banger for me.

Here are some anachronisms and historical inaccuracies I have encountered just within the past five months in books considered historical romances (not erotica*), all involving young, innocent heroines:

  • The heroine is allowed to leave her home and walk around London without any sort of chaperone, in some cases even going to call on a single gentleman alone.
  • The heroine attends a house party hosted by a gentleman known for his scandalous house parties—which is enough in itself to ruin her reputation—but she is so loosely chaperoned that she and her lover can easily sneak into each other’s rooms at night.
  • In a medieval, the hero and heroine cannot marry because their siblings are married to each other, which by church law makes them siblings as well. So they run off and pretend to be married. Really? While our 21st century wisdom tells us this law is ridiculous, these characters lived with medieval cultural and religious mores; the guilt over time would eventually take its toll, even if their deception were never uncovered. NOT a satisfactory HEA.
  • The heroine attends a ball and inadvertently has sex with a stranger in a library so dark they cannot see each other’s faces.
  • The heroine’s father wants her to marry an old lecher and tells her to allow him whatever liberties he wants.
  • The heroine is allowed to remain alone in the family home with no supervision.
  • The heroine is allowed to host her brother’s scandalous house parties.
  • The heroine goes shopping for a gown to wear at a ball that very evening. (I suppose she dropped in at Harrod’s to look through the dresses on the rack?)
  • Waffles are served for breakfast.
  • The heroine is allowed to entertain gentleman callers and ride in a closed carriage with a gentleman with no supervision.
  • The hero is a male prostitute in a brothel where aristocrats bring their daughters to be “breached” prior to the wedding night. (!!!)
  • The author doesn’t understand British titles and refers to a young girl as Lady Davenport instead of Lady Camilla. (HINT: before writing a historical novel set in England, read up on the proper use of titles. It’s really not something you can just guess at.)
  • An illegitimate son is the heir to his legitimate half-brother’s title and estate.
  • A man is allowed to marry his father’s or brother’s widow, or a woman is allowed to marry her deceased sister’s widower.

What anachronisms and historical inaccuracies make a book a wall-banger for you?

 

Historical Romance Deal Breaker #2: Adultery

Blast From the Past: Susana is traveling in Scotland this week and she thought some of you might enjoy revisiting some of her previous posts on Susana’s Parlour.

Decades of reading historical romances have led me to develop strong opinions of what defines a truly satisfying story, so the other day I set about making a list of characteristics that turn a potential five-star read into a one- or two-star. Admittedly, there are some skillful authors who manage to successfully incorporate one or more of these scenarios in their books; however, I have run across quite a few more who in my opinion haven’t quite managed it.

These are what I call “deal breakers”—characteristics that make a book a wall-banger. Not surprisingly, many involve character, particularly, the character of the hero and heroine. They have to be likable. They have to be three-dimensional, i.e., well-drawn-out characters with flaws, not fairy princesses. And they have to be able to fall in love, convincingly, the head-over-heels kind of love.

Overview of Susana’s Historical Romance Deal Breakers

  1. Reluctant Heroes
  2. Adultery
  3. Anachronistic Behavior and Historical Inaccuracies
  4. Cliffhanger Endings
  5. Unattractive or Drop-Dead Gorgeous Heroines
  6. Heroes With Mistresses or Who Sleep With Servants
  7. Drop-Dead Gorgeous Heroes
  8. Promiscuous Heroines
  9. Contrived Endings
  10. Waifs and Silly Heroines
  11. Long Separations
  12. Excessively Cruel Heroes and Heroines
  13. Breaking the Rules: Why Some Authors Get Away With It

The second one is adultery involving the hero or heroine.

I’ve seen scenarios where the non-hero husband is cruel and abusive, even threatening to kill the heroine (especially in medievals), but I don’t find that a good enough excuse for adultery. I wouldn’t tell a 21st century abused woman that she either has to go back to her husband or go to a nunnery (perhaps the closest thing to a medieval equivalent of a shelter for battered women), but in medieval times there weren’t many other options. In one story I read recently, the abused wife ran away to a distant town with her lover and they pretended to be married. But the guilt of their deceit had already started to tarnish their relationship before the book’s conclusion, leaving the reader with a very unsatisfactory HEA. (In fact, the story was set up in such a way as to make a satisfactory HEA impossible.) I know this isn’t fair by 21st century standards, but you really should not write a novel set in medieval times and then proceed to ignore the social and religious mores of the time. Less knowledgeable readers might not notice, but those of us who have read widely in the genre will recognize an amateur when we see it. [Historical inaccuracy, another deal breaker, will be discussed in a later post.]

What about a spouse who is ill, disabled, or confined to a mental institution? Or a spouse who has run off with another person and disappeared? While I do not expect a hero to remain celibate forever under these circumstances, I cannot like the heroine to be his mistress. Remember Jane Eyre? She knew she couldn’t have a proper HEA with Edward while his wife was living, even if she was a lunatic. I mean, how can you justify stigmatizing your children with the label “bastard”? Somehow, the HEA has to include a legal marriage, and I can’t believe a heroine who starts out as a mistress can have that much confidence that her husband/protector won’t eventually deceive her as well.

Oh, and the plots where the sterile husband invites his best friend to impregnate his wife? NO! Forget it! It doesn’t matter if the husband is good or evil, the whole adultery/deception angle opens up a Pandora’s box of guilt and fear that always manages to tarnish the HEA in some way.

What about you? Do find adultery in a historical romance acceptable in some situations?