Horror author Stephen King admits he’s never read Jane Austen. I don’t have much interest in “relationship” novels or romance. I’ve never read Jane Austen. I do not say this with either pride or shame (or prejudice, for that matter). It’s just a fact. We are moved to quote the film Miss Austen Regrets: If…
Originally posted on All Things Georgian: ‘Maid of all work’ – courtesy of Lewis Walpole Library ? Many of our posts take a look at the upper echelons of Georgian society, so this time we thought it might be interesting to look at what it would have been like to have worked ‘below stairs’ as…
It is a truth universally acknowledged that websites are like sharks: they must continually move forward or die.* So it’s time for AustenBlog to make with the fin and big teeth. Those who have read Deborah Yaffe’s delightful book Among the Janeites already know that I have been planning to shut down AustenBlog for a…
Flying home from the Historical Novel Society conference, I learned a lesson in indoctrination. I’m on a fast-moving deadline for a special project, but I had to go. HNS holds a special place for me. My very first HNS conference changed the trajectory of my life.
Before attending in 2019, I published lovely Regency romances. Sweet, comforting, polite novels—educating the world through fun, nonthreatening, history-filled reads.
But HNS cracked something open. Meeting a tribe of fellow history nerds and selling the book I never thought I’d sell—Island Queen, the biographical fiction about Dorothy Kirwan Thomas, one of the richest Black women in the Georgian world, a woman who bought her freedom and defies every rule and obstacle to live freely—that gave me the courage to keep telling stories that tug at my heart and mind.
Being free to create is a gift. One that’s hard to achieve. Black and brown creators, and women creators, have been indoctrinated, fed rules in the simplest of terms that challenge our freedom. Rules such as:
* That more ethnic the cover, the more it can impact book sales—or determine where a book gets shelved.
* That a pen name that sounds like a man’s carries more heft.
* That “historical accuracy” will be weaponized to silence you if you make one mistake.
* That if you fail, your failure will become the reason the next person who looks like you gets turned away.
You’ll never know how much that last one haunted me. How it still probably drives me to go the extra mile.
And I share all this to say: we’ve all been indoctrinated by our circumstances.
Writers learn quickly by how we’ve been treated—and how we’ve seen others treated—in publishing. It’s hard to break the pattern. And it’s about logic. It’s 1 + 1 = 2 when one sees patterns repeating.
And you, the listener—you’ve been indoctrinated.
Certain patterns, behaviors, even thoughts have been ingrained through images and repetition. This was made clear to me on my flight home.
Flying back from Vegas, Atlanta’s weather did not cooperate. Several delays and cancellations later, I was finally on my way but rerouted through Minneapolis. I’d arrived in Atlanta with just a four-hour delay and a bump up to first class. All was good.
But I wasn’t prepared for the real lesson I’d take from that flight.
An older gentleman sat beside me. The moment we took off, he flicked on his monitor and tuned into the news. He looked like a typical executive—loafers, golf watch, faint aftershave. He popped in his headphones, stared at the screen, and then drifted off to sleep.
I was writing but I couldn’t help watching. Something about flickering images in my periphery always pulls me in. For ten minutes, I stared at his monitor. No sound—just headlines and smiling faces discussing stories that disturbed me.
Ice raids with masked men capturing women on the street. The host smiled.Florida detention camps pop onto the screen. The smiling host makes it appear to be a pitch for a Disney vacation.
And my neighbor slept. Peacefully. Whatever was being whispered in his ear lulled him into calm.
I sat there gobsmacked.
This is indoctrination.
Indoctrination is subtle, yet powerful.It’s not about shouting.It’s about repeating.It’s about phrasing.It’s about making you feel safe while you’re being lulled into believing counterintuitive things.
The TV’s formula was simple:
* Repeat the same emotionally charged themes again and again.
* Print aggressive words: sue, threaten, destroy, take back, fight for your children.
* Paint the other side as monsters trying to take away your rights—your autonomy, your voice, your values.
* Frame reasonable actions as extreme.
* Show flags. Cue nostalgia. Stir something primal.
* Smile while doing it.
And the man next to me? He slept. Fully content. The world whispering in his ear made sense. That’s when I understood the terrifying genius of it.
People aren’t being brainwashed. They’re being comforted—soothed by simple stories, a few buzzwords, and a familiar rhythm.
In this whispering world, empathy is suspect.Fairness? A threat.Truth? Conditional.
How else do you explain people cheering for a roofer—someone who rebuilt their home after a hurricane—being rounded up and sent to a detention camp being pictured as a theme park?
What happened to questioning things?When did we decide that cruelty is an acceptable solution?Why is it okay to sleep through someone else’s pain?
Be awake.
Don’t let anyone tell you you’re overreacting.You’re not a sucker for caring. You’re human.
And to my fellow protestors and change-makers: we can’t just fight with facts and five-point plans. Shame doesn’t move people. Complexity doesn’t sway them.
If your message makes them feel stupid, they’ll dig in and side with the whisperers.
So what can we do?
We make the stakes as clear as possible.
We must give up the five-dollar words.Because those words only land with the most liberal among us. And as Nicole Hannah-Jones wrote in her recent New York Times essay, How Trump Upended 60 Years of Civil Rights in Two Months, citing scholar Ian Haney López—the rapid decline in support for DEI came from liberals. Particularly white liberals. Those skeptical of diversity. Those sympathetic to complaints about “wokeness.”
It hurts. On so many levels. Who is actually an ally?We had the George Floyd awakening, the feel-good changes… and then people voted against their better angels—for cheap eggs all while rolling back the good changes.
It’s going to take me a while to believe in allyship again.
And the lack of big words hurts because I love big words. I love nuance. But I’d rather be heard than admired for my vocabulary. I’d rather reach the “gettable” than preach to the choir, a choir who might be full of whisperers.
So:Use simple language.Simple signs.Drop the jargon.Focus on why it matters to them.
And alas, poor Yorick—and Vanessa—we must keep it simple.
Maybe then we can re-indoctrinate the world to be good.For once.For all.
This anthology reframes American history by placing the consequences of slavery and the contributions of Black Americans at the very center of the national narrative and reveals how deeply racial ideology—and indoctrination—are woven into the fabric in the U.S.
Help me build momentum for Fire Sword and Sea—spread the word and preorder this disruptive narrative about female pirates in the 1600s. This sweeping saga releases January 13, 2026. The link on my website shows retailers large and small who have set up preorders for this title.
Show notes include a list of the books mentioned in this broadcast.
You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
Let’s keep rising and creating together—like, subscribe, and share. Please stay connected to Write of Passage.”
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
Migrations have happened through the ages. So peoples in even during the Regency had wanderlust, a strong desire to see the world. And dare I say it, they even moved beyond the ballrooms of Almack’s. They traveled, they went on holiday, and upon occasion they conquered.
After the Seven-Year War, George Macartney in 1773, talked of the vastness of England’s reach, “the British Empire on which the sun never sets.”
The common attitude of having at least 184 colonies (accumulated from the 1700’s to 1950’s) around the globe supports the concept, making adaptations of the phase very popular:
“The sun never set on the British Flag” (Rev. R. P. Buddicom, 1827)
“The sun never set on British Empire” (Christopher North 1839)
When I study the list of colonies, I believe they are quite right:
Antigua and Barbuda
Dog Island, Gambia
Mombasa
Sabah
Archipelago of San Andrés, Providencia and Santa Catalina
East Jersey
Colony of Natal
Saint Christopher-Nevis-Anguilla
Province of Avalon
Essequibo (colony)
New Brunswick
Saint Kitts and Nevis
Bangladesh
Falkland Islands Dependencies
New England Colonies
Sarawak
Barbados
Fiji
New Hampshire
Crown Colony of Sarawak
Basutoland
Florida
Province of New Hampshire
Sheikhdom of Kuwait
Belize
British Gambia
New Hebrides
Singapore
History of Belize
Gambia Colony and Protectorate
New Jersey
Singapore in the Straits Settlements
Bengkulu
The Gambia
Province of New Jersey
Post-war Singapore
Berbice
Georgia (U.S. state)
New South Wales
South Africa
Bermuda
Province of Georgia
New York
South Australia
Black River (settlement)
Gibraltar
New Zealand
South Carolina
British Honduras
Gilbert and Ellice Islands
Colony of New Zealand
Province of South Carolina
British Bencoolen
Gold Coast (British colony)
Newfoundland and Labrador
South Sudan
Colony of British Columbia (1858–66)
Grenada
Newfoundland Colony
Southern Colonies
Colony of British Columbia (1866–71)
Guadeloupe
Nicobar Islands
Stoddart Island
British Kaffraria
British Guiana
Nigeria
Straits Settlements
British West Indies
Heligoland
Nikumaroro
Sudan
British Western Pacific Territories
Hilton Young Commission
North Australia
Swan River Colony
Brunei
History of West Africa
Crown Colony of North Borneo
Tasmania
Burma
Hong Kong
North Carolina
Colony of Tasmania
British rule in Burma
British Hong Kong
Nova Scotia
Thirteen Colonies
Canada
India
Nyasaland
Tobago
Province of Quebec (1763–91)
Jamaica
Ohio
Tokelau
Province of Canada
Colony of Jamaica
History of Ohio
Transvaal Colony
The Canadas
Jordan
Ohio Country
Trinidad
Cape Breton Island
Kunta Kinteh Island
Operation Sunrise (Nyasaland)
Trinidad and Tobago
Cape Colony
Crown Colony of Labuan
Orange River Colony
United States
Province of Carolina
Lagos
Orange River Sovereignty
Historic regions of the United States
Carriacou and Petite Martinique
Lagos Colony
Pakistan
Upper Canada
British Ceylon
Lakshadweep
Territory of Papua
Van Diemen’s Land
Chesapeake Colonies
British Leeward Islands
Pennsylvania
Colony of Vancouver Island
Chopawamsic
Lower Canada
Province of Pennsylvania
Victoria (Australia)
Colonial Nigeria
Maine
Plymouth Company
Colony of Virginia
Colonial Fiji
Malabo
Prince Edward Island
Walvis Bay
Côn Đảo
British Malaya
History of Pulicat
Weihai (British Colony)
Connecticut
Malayan Union
Colony of the Queen Charlotte Islands
Wessagusset Colony
Connecticut Colony
Malaysia
Queensland
British West Africa
Cook Islands
Malta
Restoration (Colonies)
West Indies Federation
Cook Islands Federation
Crown Colony of Malta
Colony of Rhode Island and Providence Plantations
West Jersey
Cyprus
Massachusetts
Northern Rhodesia
Western Australia
British Cyprus (1914–1960)
Province of Massachusetts Bay
Colonial history of Southern Rhodesia
Western Samoa Trust Territory
Delaware
Mauritius
Southern Rhodesia
British Windward Islands
Delaware Colony
Middle Colonies
Rivers State
Wituland
Demerara
Minorca
Rodrigues
Zimbabwe
Demerara-Essequibo
Mississippi
Rupert’s Land
Zulu Kingdom
Lately, I have been thinking about the hopes and dreams that sent people on a journey to an unknown world. Was it religious freedom like the Quakers? Could it be the quest of gold or the hope for eternal gold by proselytize a different people? What attitudes did they bring? Did social station withstand the hard work of building a colony timber by timber?
For my birthday (March 13 – shameless plug), my lovely husband bought me two copper engraved maps, one of England (1810) and one of South African (1835). I see stories brewing. Stay tuned.
References:
Bartlett, John (1865). Familiar quotations (4th ed.). Boston: Little, Brown and Company. p. 388.
Bacon, Francis (1841). “An Advertisement Touching a Holy War”.
Maritime Enterprise and the Genesis of the British Empire, 1480-1630.
For me, the month of February is a time to reflect on history and progress, as well as love. So, it is my pleasure to spend a little time with Michelle Griep on my southern porch. She’s a woman that writes both historical fiction and nonfiction. I thought you would like to get to know another side of one our Regency authors.
As I gussied up things, I decided to offer ripe strawberries dipped in a healthy dose of chocolate. I hadn’t had quite enough on Valentine’s Day, (thank you, Dear Hubby).
But my friend Michelle won’t have any. Not one bite.
“I hate fruit,” she said, “No, really. Not even strawberries.”
Ok, as I put the tray away for munching later, I begged Michelle to tell me more about herself, something far from London and the 1800’s.
“I am a Trekkie at heart, though I am not fluent in Klingon. Yet. I love to garden, specifically flowers and herbs. Reading is a huge passion of mine, as is eating chocolate, rollerblading, or walking my dog, Ada Clare, Princess of the Universe.”
Seriously, Michelle is a writer’s writer and has carefully studied the craft of writing for years, and as we celebrate her latest release, Brentwood’s Ward, she has also released a book on craft. How did you find the time between rollerblading and the Princess?
“I needed to get this book out. Writers of Regencies and other genres need to know, how do you go about composing and selling the next Great American Novel? WRITER OFF THE LEASH answers these questions and more–all in an easy to understand, tongue-in-cheek style. This is more than a how-to book. It’s my attempt to blow the lid off stodgy old-school rulebooks and make it clear that writing can–and should–be fun.”
Michelle Griep’s been writing since she first discovered blank wall space and Crayolas. Follow her adventures and find out about upcoming new releases at her blog, Writer Off the Leash, or stop by her website. You can also find her at the usual haunts of Facebook, Twitter, or Pinterest.
It probably won’t surprise you—at least not once you’ve met me—that I’m a planner. My name is Vanessa Riley, and I’m a serial planner. There isn’t an outline I don’t love, nor a spreadsheet that doesn’t call my name.
If I could design a map of a map of a map of systems accompanied by a flowchart—I’d consider it bliss. Come to one of my book events and ask what kind of person or writer I am, and I’ll often tell you: I’m a nerd’s nerd, a meticulous nerd. That’s right—pocket protector-level nerd. I love formulas and systems. I love figuring things out and then optimizing them.
Why? Because we only get so much energy, so much time, and so many resources in this life. I want every ounce I give to have maximum effect. If you can show me how to reach more people, make more impact, or spark more meaningful change, I’m listening. I’m all in.
But what happens when the plan doesn’t work?
Devastation. Armageddon. World War 3. In other words, I don’t take it well.
Yet I listened to Meghan Sussex, yes Meghan Markle on the Emma Grede’s podcast, Aspire, talking about failing as winning.
It sounds crazy at first.
I mean carefully charted course falls apart. How is it winning, when something completely unexpected hijacks your progress and leaves you scrambling? For those who “pants” their way through books—that is, write without plotting—this kind of disruption might just feel like a quirky detour. But for a planner? It’s devastating.
Life is unpredictable and messy. You pour energy into structure and logic and find out the world has other ideas.
And if the detour is because of people— you know the ones who don’t behave the way you think they should. Those people who’ve bought into that notion called free will, it can be devastating.
You don’t know who to trust. Or if you should trust it all. If the past year has taught us anything, it’s that people often act in ways that defy their own interests. They cling to ideals or narratives that make sense only to them. And we have to let them. As a famous poet, Bobby Brown used to insist, that’s their prerogative.
For those of you who know the chaos of watching a plan implode, I see you. I’ve lived that upheaval, and I want to offer a few steps I’ve found helpful:
1. You did your best.
Even if the outcome wasn’t what you expected, you gave it your all. The plan didn’t play out perfectly, but you showed up. You tried. And it’s OK to take a moment to lick your wounds.
2. Mourn what was built and what was lost.
It’s perfectly valid to grieve the work, the dream, or the strategy that didn’t survive. Tend to your mental health. Sometimes, starting over means burning what didn’t work to the ground. This can feel extreme, but it’s also freeing. When ego is stripped away, what’s left is humility, hunger, and a wide-open future.
3. Learn the lessons.
Every failure teaches us something. Maybe you trusted someone you shouldn’t have. Or maybe you missed an opportunity to include a partner who would have made all the difference. The lesson might be to trust more wisely. One of the best lessons is to pay attention not just to the bottom line, but to everyone on all sides.
4. Stopping is not quit.
Unless you’re physically in the grave, the game is not over. You might feel tired. You might feel lost. But you are not done. Separate the strategy from the strategist. It’s not a failure if you’ve learned to do better.
5. It’s okay to begin again.
Being brand new is not failure—it’s freedom. There’s a joy in learning, in discovering new spaces, in making new connections. Walking away and choosing the right season to begin again is a win.
6. Accept that all spaces aren’t meant for you.
When I look at that portrait of Ruby Bridges (The problem we all live with), as she’s being escorted by guards to integrate a classroom—people are screaming, writing nastiness on walls. But she and her parents decided that was the place for Ruby to be.
Honestly, I don’t know if I’d make the same call. Ruby’s treatment was horrific. Adults who should be protecting children were monsters in plain sight.
That’s hard. I’d question if that sacrifice is worth my peace?
Sometimes, the brutal truth is that the path you planned wasn’t yours. Stopping doesn’t mean you lost. It might mean you’re closer to the path that you’re meant to take. And in this day and age, that place needs to be loving, edifying, and safe. You have to feel you can bring all of you, not just fragments. Not just 50% of your gifts. All or nothing.
Writers know this well. Sometimes, we have to throw out what doesn’t work. I deleted 50,000 words from a manuscript that wasn’t working. That kind of heartbreak required ice cream and chocolate, and maybe a few deep sighs—but it made the book stronger. With my upcoming novel Fire Sword and Sea, the original plan didn’t hold. It took me two years, and several rewrites, to get it right.
Because I’m writing about real people—Pirates Jacquotte Delahaye, Michel Le Basque, Anne Dieu-Le-Veut, Laurens De Graaf and others from the 1600s—I owe it to them, and to my readers, to go the extra mile. You have to be will to pay the price to create value, something of lasting meaning.
If it’s worthwhile, it’s worth the effort. A good book is worth the effort. And you? You’re worth everything it takes to reach your dreams.
You know those dreams—the ones that keep you up at night, the ones you see in vivid color when your eyes finally close. These dreams call to you for a reason. And I believe you can do it. I’m counting on you. I know you can win.
Books to help you on your journey:
Meghan Sussex recommends Atomic Habits by James Clear. It’s is a practical guide to transforming your life by making small, consistent changes that compound into remarkable results.
Help me build momentum for Fire Sword and Sea—spread the word and preorder this disruptive narrative about female pirates in the 1600s. This sweeping saga releases January 13, 2026. The link on my website shows retailers large and small who have set up preorders.
Show notes include a list of the books mentioned in this broadcast.
You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
Let’s keep rising and creating together—like, subscribe, and share. Stay connected to Write of Passage.”
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley
This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit vanessariley.substack.com/subscribe
Before our nostalgia turns to procrastination which turns to angst or regret, we thought we’d take one more look back at the most highly viewed post ever on Regency Reflections. Again happy new year.
Earlier this month, Susan shared with us some sobering statistics about death during England’s Regency period. According to her May 4th post, the average life expectancy in England in the early 1800s was about 40 years, and the infant mortality rate was around 15%.
The people of the Regency had very specific “rules” on how to deal with and display grief over losing a loved one. Though not as strict as the mourning customs that would later develop in the Victorian period, Regency mourning conventions were complex. Let’s take a look at some of the key characteristics of mourning during the Regency.
Length of the Mourning Period During the Regency, a person would “go into mourning” when they lost a loved one. The length of time they would mourn was determined by their relationship to the deceased. Typically, the more distant the relative, the shorter the mourning period, and eventually socially acceptable guidelines emerged. When you consider the number of relatives a person could have, it was not uncommon to be in mourning for years!
Below are some general guidelines for mourning durations in the Regency. (NOTE: Mourning period lengths could vary slightly by social class or region. The lengths indicated below were guidelines, but ultimately, the length of time a person chose to mourn was a personal decision.)
Husband or wife: 1 year Son or daughter: 6 months – 1 year (the older the child, the longer the mourning period) Parent or Parent-In-Law: 6 months–1 year Grandparent: 6 months Brother or Sister: 3-6 months Aunt or Uncle: 3 months First Cousin: 2 -6 weeks Second Cousin: 1 week
Mourning Dresses
Individuals in mourning were expected to set themselves apart from society. In the “see-and-be-seen” society of the Regency, the most visible way to accomplish this was through one’s clothing. With the rise of popularity of fashion journals/magazines, mourning dresses became more elaborate and specific. These gowns could be very expensive, so it was not uncommon for women of modest means to dye or alter older dresses to use for mourning. Over time, the mass production of dark fabric made it more readily available and more affordable, and the rising middle class had the means to purchase it. As a result, mourning gowns became a “must” in a woman’s wardrobe.
During the Regency, there were two general stages of mourning: full mourning and half mourning.
A Woman’s Full Mourning Attire: Full mourning (or deep mourning) was the first stage. During this stage, a woman would dress in all black – typically bombazine (heavier silk), crepe (lightweight silk treated to have no sheen), sarsnet, gossamer, and velvet – and she would accessorize with a mourning bonnet, black shawl, black gloves, widow’s cap, and/or a crepe veil. The only acceptable jewelry for full mourning was that of jet, black enamel, black glass, or amber. Embellishments, such as buckles or buttons, needed to be modest. While in full mourning, a woman was expected to abstain from social activities.
A Woman’s Half Mourning Attire: About half-way through the mourning process, a mourner would shift to the next stage: half mourning. The mourner could now wear select somber hues, including violet, mauve, brown, gray, or lavender. Jewelry made of pearls, coral, and amethysts could also be worn. Wearing rings, brooches, or pendants made from the deceased hair was common during this stage. While in half mourning, a woman could gradually resume her social activities.
A Man’sMourning Attire
The expectations regarding a man’s mourning attire were much simpler. Since men wore black as part of their regular wardrobe, mourning clothes were not a dramatic transformation. While mourning, men would usually wear a black jacket. Additionally, some men would wear a black crepe armband, black cravat and/or shirt, black gloves, or a black ornament or band on their hat.
Mourning a Spouse The mourning period for a widow or widower was traditionally one year plus one day.
Rules for the Mourning Widow:
The strictest, most intense form of mourning during the Regency was that of a widow mourning her husband. Social custom forbade a widow to marry within the year following her husband’s death. The main reason for this was to ensure the woman was not with child, which would put the identity of the child’s father in question. During full mourning, it was unacceptable for a widow to attend social functions, and her social interactions were limited to receiving calls.
Rules for the Mourning Widower:
The expectations on a mourning widower were much different than those for a widow. While a widow was expected to go into seclusion for an extended period of time, widowers were not expected to go into seclusion for more than a couple of weeks because of his business responsibilities. Additionally, a widower was permitted to remarry right away, especially if he had young children to care for.
In parting, I leave you with a few more mourning facts:
If a young woman was in mourning and was about to get married, she would not wear black to her wedding. It was considered poor taste for a new bride to be in mourning, although it would be acceptable for her to wear darker, more somber colors.
It would not be uncommon for a wealthy family to insist that their servants wear mourning clothes to show respect for a departed member of the family.
This post merely scratches the surface of mourning during the Regency. The process was complex, but it was one that helped define the era and lay the groundwork for future customs.
Happy New Year everyone. 2014 was a great year for Regencies, and we are ever excited for the ones to be released in 2015. So stay posted here for the latest information and the best musings around. The top post at RegencyReflections.com for 2014 is:
One, Two, Three… Dance With Me. A Wondrous Set With Julie Klassen
“What place is so proper as the assembly-room to see the fashions and manners of the times, to study men and characters…” Thomas Wilson, Dancing Master, An analysis of Country Dancing, 1811, pg. 6 of The Dancing Master.
Vanessa here,
It was late. The lights had dulled. I turned to leave, and there across the crowded bookstore, I saw it. A book like no other.
Timed to the subtle Barnes & Noble background minuet, I stepped near and ran a finger along it’s fine spine. It whispered a blurb just for me.
Finding himself the man of the family, London dancing master Alec Valcourt moves his mother and sister to remote Devonshire, hoping to start over. But he is stunned to learn the village matriarch has prohibited all dancing, for reasons buried deep in her past.
Alec finds an unlikely ally in the matriarch’s daughter. Though he’s initially wary of Julia Midwinter’s reckless flirtation, he comes to realize her bold exterior disguises a vulnerable soul—and hidden sorrows of her own.
Julia is quickly attracted to the handsome dancing master—a man her mother would never approve of—but she cannot imagine why Mr. Valcourt would leave London, or why he evades questions about his past. With Alec’s help, can Julia uncover old secrets and restore life to her somber village . . . and to her mother’s tattered heart?
Filled with mystery and romance, The Dancing Master brings to life the intriguing profession of those who taught essential social graces for ladies and gentlemen hoping to make a “good match” in Regency England.
It had me at Finding. With The Dancing Master tucked firmly in my grasp, I gave the attendant my coins and fled to a carriage, content in the knowledge I’d found a joy to keep me warm through the frigid Atlanta night.
Vanessa: Today at R&R we have Julie Klassen joining us. Julie, it is my pleasure to welcome you back to Regency Reflections.The Dancing Master ‘s premise really intrigues me. Normally, we see Regency books with the hero as a duke, a barrister, a spy, or maybe a doctor, but a dancing master, not so much. How did you come up with this idea?
Julie: In Regency England, dancing was one of a limited number of ways young men and women could spend time together or court one another. It was considered such an important social skill that parents hired dancing masters to come into the homes and teach their sons and daughters to dance. “Every savage can dance,” Mr. Darcy says, but unless one wished to dance very ill (Mr. Collins comes to mind) lessons were crucial. So, as an author of half a dozen other books set in the Regency era—and someone wholoves to dance–it was probably only a matter of time until I wrote about a dancing master. As I say in my author’s note, I learned to dance the box step standing atop my dad’s size 15 triple E shoes. Later, I went on to take every ballroom dance class I could sign up for at the University of Illinois. I even taught a few dance classes of my own through community ed. I enjoyed drawing on all of these experiences to write this book. Like ballroom dancing, I find English country dancing exhilarating, joyful, and just plain fun. I hope to express that joy in the novel.
Vanessa: Wow, Dad has some big shoes to fill. Poor Mr. Klassen, has his work cut out for him, between dad and all of your romantic heroes. Tell me about what kind of research you conducted. Hopefully plenty of dancing.
Julie: I read instructional guides and journals written by dancing masters of ages past, and watched reenactors perform English country dances online. But the best and most enjoyable kind of research was actually learning dances from that period. My dear, long-suffering husband and I went English country dancing several times.
I also attended the annual general meeting of the Jane Austen Society of North America, held in Minneapolis in 2013. There, I took two more dancing classes to polish my skills before the “Netherfield ball,” complete with live musicians and costumes. It was a wonderful experience to dance with fellow Austen fans from around the world.
During the conference, we also watched a BBC production: “Pride And Prejudice: Having A Ball.” In this program, a team of experts recreated a private Regency ball, complete with historical food, costumes, music, and dances. Unlike most of the sedate dances we see performed in period movies nowadays, in reality many of the dances of the era were fast paced and lively. Those of us watching were surprised how energetic the dances were, and how the performers (trained dancers in their twenties) were breathing hard and perspiring after a few dances.
By viewing the program and taking the dance classes, I gleaned several details to include in The Dancing Master. For example, when a couple reaches the top or bottom of a long-ways set (line of dancers) they stand out for a round before working their way back up or down the line. This gives couples a breather, and more importantly, a chance to talk and flirt with their partners!
If you’d like to learn more about the JASNA conference, here’s a fun video my publisher took of me (in costume) at the event. http://www.youtube.com/watch?v=y5KmFKlJlfk
Vanessa: Ok, enough of the pleasantries. Julie, tell me about dreamy Alec Valcourt.
Julie: Alec is capable, loyal, and determined to support his mother and sister. He is a sharp dresser, prefers to keep his hands clean, and wields a fencing sword far better than an axe or spade in a rural village where most men are farmers or miners. As you can imagine, this leads to several painful scrapes along the way.
Vanessa: Why is Julia Midwinter the perfect foil to Alec?
Julie: Julia is a bit reckless, flirtatious, and difficult. But like many people in real life, there is more going on beneath the surface—and in her past—that has made her who she is. As the story unfolds and secrets are revealed, Alec begins to see the vulnerable, wounded soul beneath the brash exterior. He learns to understand her and becomes fond of her, especially as she begins to grow and change, and I hope readers will follow his lead.
Vanessa: Growing and changing. Sigh. I know I’ve made a few mistakes on that road. What spiritual truth would have made a difference to Julia, if she had realized it at the beginning?
Julie: All her life, she had been seeking a father’s love and approval. And if she could not have a father’s love, then any man’s approval would do. She had strived so long and so hard to gain attention in the wrong ways and from the wrong people…. If Julia had realized earlier that even though her earthy father failed her, her heavenly father loved her and highly valued her–she might have avoided some of the foolish things she did to try to fill the void left by the absence of a father’s love.
Vanessa: After reading Julia’s and Alec’s story, what else do have for us. There will be more cold nights in Atlanta.
Julie: I am currently working on rewrites for my next Regency-era novel with Bethany House Publishers. It’s a mysterious romance called The Secret of Pembrooke Park, and is due to be released December 2014.
Vanessa: Julie, The Dancing Master, is an amazing book. Asking this of any author is unfair, but if you could sum up the spiritual journey in one word what would it be?
Julie: Grace. I enjoyed weaving in grace in its many forms–social graces, grace in dancing, and most importantly, God’s grace—and I hope readers will be reminded of His amazing grace for us all.
Vanessa: Thank you for being a great sport and sharing this special book with us.
Julie: Thank you for having me here!
Julie Klassen is going to give away a paperback or e-book copy of The Dancing Master to one lucky commenter. Share with us your favorite dance, dance scene, or dance disaster. Mine took place at last year’s RWA conference when I tried to do a reel. There’s video….
Any way, here’s an excerpt from The Dancing Master:
“May I help you with something, Miss Midwinter?” Alec said officiously, hoping to chase the self-satisfied grin from her face.
“Yes, actually.” She clasped her hands. “I’ve come for a dancing lesson. Here—since Lady Amelia would never allow it in the house.”
He licked dry lips and felt his pulse rate quicken. Part of him relished the notion of being alone with Miss Midwinter. Enjoying her company and her undivided attention. Taking her hand in his to lead her through a private dance in a deserted churchyard . . . His chest tightened at the thought.
But he knew all too well the possible consequences of such stolen moments. Such seemingly innocent beginnings.
She took a step forward, and he stepped back. She performing the chassé,and he performing the dance of retreat.
He said, “Miss Midwinter. Before we proceed any further, I must tell you that I have a strict policy against any romantic involvement with my pupils.”
She blinked, momentarily taken aback. “In that case, perhaps I ought to reconsider becoming a pupil of yours.”
JULIE KLASSEN loves all things Jane—Jane Eyreand Jane Austen. A graduate of the University of Illinois, Julie worked in publishing for sixteen years and now writes full time. Three of her books have won the Christy Award for Historical Romance. She has also won Christian Retailing’s BEST Award and has been a finalist in the Romance Writers of America’s RITA Awards. Julie and her husband have two sons and live in St. Paul, Minnesota.
As we anxiously await the new year, we thought we’d repost the top two posts for 2014. This is one on beauty is the runner up for most read post here at RegencyReflections.com.
The Eye of the Beholder: Standards of Regency Beauty
Kristi here. In a recent fit of nostalgia, I’ve been watching some of my favorite shows from the eighties on Netflix. Aside from the huge difference in sound and film quality and the stiltedness of some of the acting, I was struck by the vast gulf that existed between what was considered beautiful then, and what it is now.
The fashioning of hair and clothes are obviously different – high-waisted jumpsuit with enormous shoudlerpad,s anyone? – but as I put on my analytical thinking cap, I saw it went deeper. The size and shape of the bodies and even the eyebrows is different.
If standards of beauty can change that much in thirty years, imagine how they could have altered in 200 years. What was considered beautiful in the Regency era?
Pale Skin
Pale skin was considered a sign of wealth as it meant you didn’t have to work outside. In Pride and Prejudice, Elizabeth Bennet’s tan is remarked upon when she travels to Derbyshire with her aunt and uncle. Caroline attempts to use Elizabeth’s darkened skin to diminish Darcy’s attraction.
Curves
The Regency ideal was a good deal plumper than today’s standard of beauty. Paintings and poetry from the day show an affection for plumper backsides and dimpled thighs. Again this was a sign of wealth. The plumper people didn’t have to work psychically and they had plenty to eat.
The appealing curves extended to the facial regions as well, with rounded, young looking faces reigning the day instead of the cut cheekbones of modern times.
Delicate Clothing
Light colors, embroidery, and nearly translucent fabrics were the epitome of fashion. Yards of ruffles and ropes of jewels were the epitome of beautiful. The glittery adornments and delicate clothing were, once again, signs of wealth.
The more delicate appearance also extended to the hair, with wigs and enormous headpieces falling out of fashion, curls, feathers, and natural hair were prized. This signified that not only could your delicate hairdo withstand your lifestyle, but that you were healthy, as wigs had become popular in an attempt to disguise illness induced hair loss.
Shoes were also delicate, especially evening shoes. Men were known to still wear the occasional heel on a night out and more than one woman packed an extra set of dancing slippers in her reticule.
Beauty trends of the Regency era were obviously tied to what the wealthy could attain. Do you think that holds true today? Do you think the working classes of the Regency had the same opinions of beauty as the upper classes did?