I usually write Regency romances. So I have to keep an eye on developments in the market. And covers are a vital part of getting readers to pick up a book.
What prompted a modern woman to pick up a Regency romance?
If I were to generalise from the many Regency covers I’m seeing these days, I’d say that quite a lot of them look too modern. They don’t say “Regency” to me.
I’m not sure whether it’s the heavy make-up, or the hairstyles, or the clothes, or just the knowingness that 21st century models seem to display. Whatever it is, very few of the females on today’s Regency covers look (to me) anything other than a modern woman playing at being in the Regency. Continue reading →
Have you ever met someone on the phone — a business colleague, perhaps — and created a mental image of them from voice and conversation alone? If you later met them face to face, how did the reality measure up to your mental picture?
I vividly remember doing just that with a woman who subsequently became a close colleague when I was working in London. From her voice on the phone, from her senior position in the organisation and from what she said to me, I pictured a middle-aged, rather motherly figure with mid-brown hair in a beautifully-coiffed jaw-length bob. It was a pretty strong mental picture, though I have no idea where it came from. Continue reading →
In BBC’s 1995 Pride & Prejudice, Mary and Jane wear a spencer, Lizzie wears a shawl, and Lydia wears…er…nothing
What to wear if it’s cold? A spencer?
Replica spencers (BBC’s Persuasion)
As the Pride & Prejudice picture shows, the high-waisted Regency gown needed a particular kind of outerwear.
A normally-waisted coat would have ruined the shape of the lady’s silhouette. So fashion called for something special. The answer was the spencer.
From about 1804, the spencer was a short-waisted jacket with long sleeves. It could be prim and proper, buttoned up to the neck, as modelled by Mary Bennet (above). Or it could be rather more risqué, accentuating the bosom, as Jane Bennet’s does.
Late Spring for marsh marigolds and candelabra primulas, but cheerful and welcome
Apologies to readers looking for our normal Sunday morning blog. Unfortunately we’re not able to post today but we’ll be back soon and blogging, as usual, next weekend. Meanwhile, enjoy the sunshine and the spring flowers. And for those running the London Marathon, take care in the heat. You have all our admiration.
Late Spring 2017 carpet of lilac alpine phlox; not out yet this year but coming soon 😉
Authors have different ways of naming characters. Some label their key characters hero and heroine until they have finished the first draft, others need names for their characters before they can write a word.
(And some need to know all the character’s backstory before they start to write… But that’s another blog altogether.) Continue reading →
A Regency gown might look simple but the wedding dress shown above clearly is not. Mainly because of the hand-embroidered muslin, rather than the fairly standard design.
That stunning dress was worn by a seventeen-year-old bride, Mary Dalton Norcliffe, for her marriage to Dr Charles Best in York on 11 June 1807. It’s made of Indian muslin and the V&A suggests the embroidery was done in India, too. Not only is there beautiful embroidery all round the hem and train, there is asymmetric embroidery across the front of the skirt, recalling the classical toga. You may find it easier to see the white-on-white embroidery in the close-up, shown left. Continue reading →
Caraco isn’t a word that many of us are familiar with. It’s not in many dictionaries, either. It is in Wikipedia, though, along with this illustration of a lovely caraco jacket, dating from 1760 but altered in the 1780s. The original is in the Los Angeles County Museum of Art.
So… what is a caraco?
It’s a woman’s jacket, usually waisted and thigh length, with a front opening. It could be worn as the bodice of a gown and was termed a “caraco dress” when it was complete with a skirt. Some simple versions had high waists even as early as the 1780s.
According to Wikipedia, the original French caraco was often worn with a stomacher to fill the front opening, as with the silk one in the picture above. The English version was designed to meet in front and didn’t need a stomacher. Which is a pity, as stomachers can be truly beautiful, like these from earlier periods… Continue reading →
This blog looks at the lovely Georgian polonaise gown, as a follow-up to my earlier blogs about the hard work of the seamstress and the lady’s maid. We marvel at these gowns in museums — and most of us know that every stitch was hand-sewn — but do we stop to think about the detail of the process?
Shown left is a modern replica of a 1780 polonaise gown, made in plain white fabric to show off the detail of construction. Shown right is an original gown dating from the late 1780s and with the back only partly lifted.
Normally, the back of the polonaise would be lifted in two or more places to show the petticoat beneath, as shown below. Continue reading →
Let’s hear it for the heroes! Tall, dark and handsome?
Hero = handsome; heroine = beautiful?
Bestselling author Susanna Kearsley published a blog last week that asks a thought-provoking question about romantic heroines: — why is it that “some readers, when faced with a blank face, are programmed to fill in the features as ‘beautiful’?”
A disturbing question, too, perhaps.
But what about the heroes? Do we readers fill in male features in a similar way? Why?
Do the heroes of our imagination have to be tall, dark and handsome? Continue reading →
Light and shade help to create atmosphere. It doesn’t have to be deep gloom or blinding sunlight, just a degree of contrast.
To see what I’m getting at, have a look at the 3 pictures in the slider below, showing roughly the same view of a snowy landscape, but in different kinds of light. I reckon the changes of light and shade move the viewer from misery (or at least gloom), through hope, to something much more positive.