While I love the ballrooms of London or the estates found in the countryside, I also have a fondness for unusual architecture. I started my debut novel, Madeline’s Protector near one of the greatest engineering feats for England, Shropshire’s Ironbridge. The bridge was built in 1779 and was one of the first bridges made of cast iron.
Source: Wiki Commons
Ironbridge has come to symbolize the start of the Industrial Revolution in England. It is over 100 feet wide and spans the River Severn. During the Regency, the area was heavily mined and filled with iron working operations such as foundries.
The Design
Abraham Darby I mastered the use of sand moulds to pour and set cast iron into strong shapes, which could be used for buildings. His great grandson, Abraham Darby, III continued working with iron and perfected this technique.
Source: Wiki Commons
At twenty-nine years of age, Darby III took the design of the bridge from architect Thomas Farnolls Pritchard and started construction. It took three months to build the bridge. Constructed from over 1736 casting made in a foundry 500 yards away, the bridge weighs over 378 tons.
The Mystery of the Build
No firsthand accounts existed such as diaries or work notes, so it was a mystery, how the bridge was actually constructed. Most assumed the bridge was started on one side, and then built piece by piece to the other side. In 1997, a sketch was discovered showing the bridge under construction, the only drawing of its kind. The sketch showed the bridge being raised from a barge floating in the river and the casts being winched into place.
Source: Wiki Commons
Also, by examining the bridge in detail, they discovered each part was cast to order. They put pieces in place. Measured the gap to the next piece and then adjusted the moulds / casts to fit the sections.
While it was being built, the Ironbridge area was filled with foundries. The smoke of the smelting of the iron made the area dark, like a smoke-spewing setting. Today it’s one of the prettiest and is heavily toured with lots of greenery surrounding the bridge.
One Final Tidbit.
No pictures of the Darbys exist like the other iron-masters of the day because they were Quakers and thought, that such renderings would be vane.
Sources: BBC.co.uk, Ironbridge Gorge Museum, and VisitIronBridge.co.uk
“Her skin was very brown, but, from its transparency, her complexion was uncommonly brilliant; her features were all good; her smile was sweet and attractive; and in her eyes, which were very dark, there was a life, a spirit, an eagerness which could hardly be seen without delight.” — That’s Jane Austen purply prose describing Marianne Dashwood in Sense and Sensibility. It’s a passage I repeat in A Wager at Midnight, where our Austen-loving hero sends these words to the woman he loves.
Vanessa on the set of Hallmark’s Sense and Sensibility in a period reconstructed gown.
This sentimental adoration of skin is an example of how, even in the olden days—the 1800s—it’s used to interpret Marianne’s style and good character, and another reason she’s considered qualified to be a good wife.
Where have we gone so wrong that the mere mention of skin makes everyone nervous? Why, when used in literature skin was once a symbol of beauty, in the present it seems linked to division? Why does its celebration feel shameful or wrong? Even those who claim to see no color are blind to the beauty that skin creates.
Did you know that your skin—the dermis—is the largest organ in your body? According to the National Institutes of Health, the average adult’s skin spans 16-22 square feet. That’s a quarter of an average bedroom. For me, that’s half the room on my floor filled with reference books—the ones I’m pouring through as I write. Skin serves as a shield. From freckles, scars, and pigmentation to wrinkles—it’s a storyteller, an archive of our rich history.
More Than Skin Deep
Skin is important. It’s one of the first things anyone notices when you walk into a room. It’s the reason people smile when it’s glowing and radiant. It’s also the reason I was followed around a store when I was young, Black, and in a place where those in power assumed the worst. I wasn’t given the benefit of my character. I was condemned in a glance.
And when people of like minds and shared ancestry congregate and uplift one another, some of those same forces rear their heads again. Now, they are uncomfortable. It makes me wonder—what is it they fear? It’s not 1865. It’s not 1617. Our skin is here to stay, adorned as we please, and present in all public spaces.
Yet, I’m not just talking about external forces. I’m talking about the harm we inflict upon ourselves—the moments we buy into the false narrative that our skin makes us not enough.
Skin as a Reflection of Trauma
Skin records our personal experiences and the imprints of ancestral resilience. It is more than just a covering; it is deeply connected to our emotions and environment. Studies show that trauma leaves a physical signature, not only in our nervous system but in our skin. Ever noticed your skin flaring up after extreme stress—whether it manifests as dryness, scarring, acne, or rosacea? You’ve experienced this connection firsthand.
According to the National Rosacea Society, emotional stress is one of the most common triggers for rosacea. Research in dermatology and psychiatry links post-traumatic stress disorder (PTSD) to various skin conditions, including psoriasis, eczema, and stress-induced inflammation. Scientists have found that those who experience chronic psychological stress have elevated inflammation levels, which can make skin conditions persistent and resistant to treatment.
A Poster for Healthy Skin – Source: Canva and Vanessa Riley
Our bodies hold trauma in tangible ways. People with alexithymia, a condition where emotions are difficult to identify or express, often experience physiological symptoms, including hyperactivated nerves, increased heart rate, and reduced oxygen flow to tissues. The skin itself becomes more electrically sensitive, reacting intensely to stress. These biological responses serve as reminders that our reactions to the world around us don’t simply disappear.
Trauma and the Legacy of Our Ancestors
Recent genetic research reveals that trauma is not just a singular present experience but one that echoes across generations. The concept of intergenerational trauma suggests that stressful events—war, famine, oppression, and internment—can shape gene expression and affect descendants. Studies of Holocaust survivors and Dutch famine victims show that their children exhibited altered stress responses and health patterns.
Throwing on my science minded writer’s hat for a moment, I must make it clear, trauma doesn’t change our DNA sequence, but it does influence which genes are activated or deactivated—like an editor making notes in the margins of a manuscript. These epigenetic markers can be passed down, creating a biological legacy of resilience or vulnerability. However, just as these changes can be inherited, they can also be rewritten, properly edited out of existence. Healing, self-care, and community can reprogram these genetic expressions, offering paths of restoration.
The Power of Ancestral Survival
Every cell in your body is a testament to survival. Your ancestors endured hardships—some enslavement or forced migration, all subject to colonization. This legacy affects both the oppressed and the oppressor. Both absorb the hate and lies, whether through feelings of false superiority or the fallacy of expecting to be exploited.
Back to Our Skin
Research from Yale and the Mayo Clinic reveals that every human carries an ancestral roadmap at the cellular level. This means that the struggles and triumphs of those who came before us are not just stories—we carry them in our blood, our bones, and our skin.
In the year of our Lord 2025, it’s time to step back and see that we are wonderfully made. Even if our history or ancestry has endured the worst, and even if our ancestors have perpetrated the worst. Knowing true history isn’t about guilt; it’s about recognition—returning honor to those who were hung from the arc of injustice.
Legendary civil rights organizer Ella Baker often asked, “Who are your people?” It wasn’t just a rhetorical question; it was an invitation to recognize the power of lineage. It wasn’t a call for atonement but a call to do better by those upholding supremacy and to do right by our neighbors, all of our neighbors–the ones who don’t worship, love, socialize or believe like you. And especially those who don’t look like you, possessing your skin—the one thing on the list that’s impossible to change.
More Than Skin Deep: The Significance of Firsts
We live in a world where women, Black people, and people of color are still achieving “firsts”—the first to graduate from certain institutions, the first to hold specific leadership positions. I was one of the first, if not the first, Black woman to graduate from Stanford University with a Ph.D. in mechanical engineering. In 2001, only four Black women graduated with a doctorate in physics. I have the honor of knowing one of them.
Yet, despite how hard we work—how much harder we labored to gain our placements—someone will look at our brown skin and assume: affirmative action, lax standards, different (easier) tests. And, of course, we are counted as ‘Didn’t Earn It’ hires. Some believe DEI initiatives are keeping them from breaking into traditional publishing—without considering the possibility that their writing simply isn’t good enough. They don’t realize that calls for historically disenfranchised groups don’t mean the majority is ignored. When people realize that there are enough seats at the table, maybe they won’t be so insecure. Maybe then, they can relax.
For Becky or Karen, I can tell you two things can be true at the same time. When I started out, I remember being told by an agent—one with, let’s just say, racist tendencies—that I wasn’t good enough, and my only hope of publishing was as a co-author. She was wrong. But that manuscript she reviewed? While it had a unique style filled purply prose and uncontrolled flourishes, it was trash. A wise person learns, adapts, and tries not to make the same mistakes. That too is baked into my skin.
Don’t Hide Your Beauty
Maya Angelou once said, “The variety of our skin tones can confuse, bemuse, delight, brown and pink and beige and purple, tan and blue and white. I’ve sailed upon the seven seas and stopped in every land. I’ve seen the wonders of the world, not yet one common man.”
Our skin tells the story of survival, of fire refining gold, of bronzed DNA etched with both power and pain.
Ignore the noise. Your achievements are not anomalies; they are milestones on a journey paved by generations of sacrifice and resilience.
Psalm 139:14 reminds us, “I am fearfully and wonderfully made; your works are wonderful, I know that full well.” We are the work of His hand. Our skin—our very being—is a living archive of triumph. We are made not merely to survive, but to thrive in our circumstances, our skin. The legacy endowed in us qualifies us to dream and build and rest—with passion, compassion, and undeniable style.
If you wish to dive deeper into the wonders of skin and pride and human nature, I recommend the following:
And If you want to learn more about the powerhouse behind the scene activist Ella Baker, try Ella Baker and the Black Freedom Movement by Barbara Ransby about Baker’s pivotal role in the civil rights movement and her enduring legacy of grassroots leadership.
Show notes include a list of the books mentioned in this broadcast. This week, I’m highlighting M. Judson Booksellers through Bookshop.org. You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
Vanessa Riley’s Write of Passage is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.
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
As we focus on outdoor activities here at Regency Reflections, I would like to spend sometime highlighting one meant for lovers, lovers of scenic views and food, the picnic (picnick). By the time of the Regency, communing with nature and enjoying natural activities became the rage. What better way to indulge both passions, outdoors and food, than by dining al fresco.
Photo from http://myaustendreamworld.com
The ingredients of a fine picnic are the weather, the guests, the place, and the food.
The Weather
The weather should be warm and sunny. Most picnics provide a linen cover on the ground for the participants to sit and eat their meals. Thus, if it has rained for several days, the saturated ground will wet the coverings and bring mud and damp clothes to the event. We wouldn’t want to spread consumption. Moreover, if one tried to have a picnic in 1816, the year without a summer, the temperature would be too cold or worse too snowy to have had an enjoyable picnic.
The Guests
Selection of the guest needed to be done with the same care as choosing ones for an indoor dinner party. Participants will be sitting very close together, even leaning near the next person. Thus, social people with excellent conversation would be preferred. Unmarried people still required chaperones, so the hero won’t be sneaking away with his single heroine… unless he’s sure not to be caught.
The Place
The place to hold the picnic must be selected wisely. Because of the need for the eyes to experience nature, the environment for the picnic should be as inviting as the food. Yet, choosing a picturesque place might mean settling on an out of the way flat plain on the moors, or a hill like Box Hill, the famed picnic spot in Emma. Box Hill, the summit of the North Downs in Surrey, is set up high and framed in boxwood trees, oaks, tall grasses, and wild flowers. Perfect for a picnic.
Source: Wikicommons. Panoramic View of Box HillPhoto from the Movie Emma (1996 British TV)
The provisions for the picnic can consists of tables to hold the food, the food, plates, cloths, servants to dish the food, servants to do the setup and the clean up, the linens, etc. These goods and servers can require wagons or carriages for transportation to and from the location. If the scenic spot was too out of the way, servants had to walk and carry picnic fare from the closets point of access (the road, etc.) to the picnic spot.
The Food
Food for the picnic can be arranged one of two ways. (1.) The picnic organizers can assign foods for each of the participants to bring. This ensures that no foods are duplicated. Each participant must bring enough food for all of the picnickers. (2.) The other way is for the organizer to supply it. This option was mainly chosen by the wealthy as an extension of showing off their good fair just as if the picnic were an indoor dinner at a ball.
The common foods supplied were pre-sliced cold roast and cow tongue (also sliced). Deviled eggs were popular. Once the egg is boiled, it’s sliced in half and the yolk is removed. The yolks are mixed with pepper, Worcester sauce, salt, and mustard and then returned to the inside of the boiled egg half. No addition of mayonnaise (1756 Charles de Lorraine, duke of Mayenne) to worry about spoilage.
I found a reference to walnut sandwiches and fruit sandwiches. Walnut sandwiches were made from chopped walnuts mixed with cheese and spices and served on thinly sliced bread. Fruit sandwiches were made with stiff stale bread topped with thin slices of bananas and pineapples sprinkled with sugar. After it sets up with the fruit juices penetrating the bread, it is cut into little cakes and served with whipped cream (or clotted cream).
The drink offered would be a popular beverage that can be served at ambient temperatures (not too cold and not hot): lemonade, white wine claret, or a sweet madeira wine.
All foods should be easy to port and serve the picnic-goers to show the host as a considerate and generous person as well as match the beauty and ease of the natural surroundings.
So, if your weekend permits, have your servant or dear hubby fetch a sandwich and blanket and dine al fresco Regency-style.
References:
“Cookery”, by Amy Richards, published in 1895
Andrew Hubbell, How Wordsworth Invented Picnicking and Saved British Culture. Romanticism, Volume 12, Number 1, 2006, pp. 44-51
MyAustenDreamworld.com
Janeaustensworld.wordpress.com
Timothy Morton, Radical Food: The Culture and Politics of Eating and Drinking, 1790–1820, vol. 1 (New York: Routledge, 2000), pp. 3–8.
My mother was the first female entrepreneur I ever met. She started selling baked goods during tax season while my father prepared income taxes for clients in our home. I distinctly remember her brownies—one of my favorite treats—being sold right on our porch to delighted customers. But my mother wasn’t just an entrepreneur; she was a serial entrepreneur. She took that experience and built a bookstore—Goldenrod Christian Bookstore—in the booming metropolis of Aiken, South Carolina. And for those familiar with Aiken, you’ll catch the joke in that description.
Midnight Release Party of A Wager at Midnight at The Book Worm Bookstore
A love of books has always been deeply ingrained in my family, which made it all the more distressing when larger businesses noticed the niche my mother had carved out. Since there wasn’t another Christian bookstore for miles, these businesses began selling Bibles and offering similar services, cutting into her business. I suppose at any stage of success, there will always be competition, challenges, and obstacles that try to stop you. You just never know what each day will bring.
One of my fondest memories of Goldenrod was an item my mother kept by the register—a small, round coin. Some were blue, others red, and each had the words “To It” stamped on the top. It didn’t make sense to me at first. When I asked her about it, she gave me that knowing smile and said, “This is for everyone who delays their dreams, thinking they’ll get around to it.” Then she placed the coin in my hand and said, “See? Now you have a round to it. So go after what you want.”
The idea of “a round to it” is a powerful concept. It represents the ultimate form of procrastination—the assumption that we will always have another moment, another chance. But nothing in life is promised. We shouldn’t make plans assuming X, Y, or Z will happen down the line, nor should we sit still waiting for the perfect moment.
By the time you hear this podcast, I will have released my 26th book into the world, A Wager at Midnight. I will also, in all likelihood, be very tired because we celebrated with a midnight release party. (Side note: I probably should’ve named it A Wager at 10 PM—then I could have gotten a full night’s sleep! But I digress.)
The event was an incredible opportunity to celebrate this book, an indie bookstore that I love, and the readers who believe in my voice and mission—supporting women, female entrepreneurs, and female authors. Because despite what anyone may tell you, being an author is a business. Our product is our words, codified in a book. We have to market, advertise, reach new customers, and most importantly, appreciate every reader—whether they pick up a book from a library, buy it from a bookstore, or listen to it through headphones. Every reader is a valued customer.
At the midnight party, we celebrated in style. The menu featured chimichurri sauce with a range of crudité vegetables, Megan Sussex’s lemon honey olive oil cake with cream cheese frosting, baked donuts with chocolate ganache and floral sprinkles, holiday meatballs, and an array of cheeses—including a particularly tipsy drunk goat cheese. There was plenty of food, and even greater joy in watching people savor what had been created with love and care. Perhaps I’m a serial pleaser because I want people to enjoy my words, but if I throw a party, I want them to enjoy the food, too.
So consider this message your round to it. Wear that outfit you’ve been saving for a special day. Take the trip you’ve been thinking about. Start the business that’s been living in your head, even if the present situation feels uncertain. Celebrate everything—whether it’s a major victory or simply the fact that you’re still in the game.
And as we celebrate book number 26, A Wager at Midnight—Stephen and Scarlett’s story—we honor a narrative that intertwines a fight against the blood disease sickle cell anemia with a love story between a Duke and a Viscountess, who place a wager that will be settled at the end of A Wager at Midnight. At its heart, this book is about two people devoted to medicine and helping others, yet unsure if they can have both love and their dreams. But luckily, Stephen and Scarlett get a round to it.
Books that can help bolster the celebration now mindset:
So celebrate today. Party today. Because nothing is promised, and you deserve your flowers—or your holiday meatballs—even if it isn’t an official holiday. You deserve a celebration.
Show notes include a list of the books mentioned in this broadcast. This week, I’m highlighting “The Book Worm Bookstore” through Bookshop.org. You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
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
To celebrate the release of Madeline’s Protector, we’re running a special contest. Starting today through next Friday, May 3, we’ll feature thought-provoking questions at the end of each post. To enter the contest, you’ll need to supply a thoughtful answer to the question. The grand prize winner at the end of the week will receive a brand new Nook.
But the contest doesn’t stop there. Each day a new post goes up (Monday, Wednesday, and Friday) we’ll be giving away mini-prizes for that day only. Here’s a list of the prizes:
Fri, April 26—$10 starbuck’s gift card – Nancy !!!!!!!!!!!!!!!!!!!
Mon, April 29–$itune card
Wed, May 1–$10 Amazon Gift certificate
Fri, May 3—A paperback of Madeline’s Protector.
And that’s not all. If you want to be eligible for a second chance to win the Nook tablet, you need to refer someone else to Regency Reflections. (Note: if you bring someone on over, make sure the other person’s comment mentions that you referred them).
If you don’t feel comfortable leaving a comment to enter the giveaway, or if you want yet a third chance to enter, you can follow this link and enter the contest once on this site: https://contest.io/c/8jhitnpz
Now, on with this post.
In my debut novel, Madeline’s Protector, my heroine, Madeline St. James, has been shot. She’s drenched to the bone, and the hero, Justain Delveaux, Lord Devonshire, has to stop the bleeding, remove the bullet, and keep her from going into shock.
Devonshire is a complex Regency gentleman. He’s a veteran of the Peninsula War and is familiar with patching men up, but a woman?
Luckily, Lord Devonshire is also a reforming rake. His acute knowledge of unmentionables helps him save Miss St. James ‘s life without indecent action. (This is a Christian Regency. 🙂 )
Thus, I researched stays. Stays is the English term for the corset during the Regency. Prior to the 18th century, corsets were stiff devices made to support and shape a woman’s body. They were made of silk, silk brocade, linen, or even leather. They were boned throughout with whalebones, making the unmentionables stiff and restricting.
Here are some pictures of corsets from the 1760 and early 18th century.
Picture A.
Picture B
One of the things that struck me about these corsets were the bright colors of these Pre-Regency pieces. Also, it was not uncommon to find over 150 wale bones inside the corset to sculpt the female shape. Ouch.
These units laced in multiple directions. Picture A laces in the front and the back. Picture B laces on both sides under the arms. So trying to unhook these models varied from corset to corset. Thus attempting to loosen one of these to aid a stricken woman’s breathing could be useless or fraught with disaster. We’d hope a gentleman wouldn’t need to grope a woman trying to determine where the laces of the corset were positioned.
Typically, the corset did not sit against the skin. A chemise of cotton chintz or muslin covered the body sitting underneath the corset. This continued to be the norm during the Regency.
Between 1785-1800’s, corsets were typically light in color. Boning is used to stiffen, but metal springs are also used to help shape. Fabric choices are quilted silk taffeta,
Picture C
linen, and chintz. Hand darned eyelets routed the laces to keep on the corset. These corsets laced in the front and/or back. (Picture C)
By 1804, a new type of corset was created. These were soft without the all over use of whalebone. These corsets were constructed from cotton, cotton sateen, cord quilting, and/ or cotton satin. The bust could have a drawstring to help provide shaping. It might also use a busk, a long strip of metal or flat bone to stiffen the corset. The following picture show a long rectangular section between the breasts (Picture D). That is the busk.
Picture D
These corsets used laces in the back (Picture E) to close the garment. Sometimes these corsets are called Long Corsets.
Therefore, the hero during the Regency more often than naught guessed correctly, if he attempted to loosen the corset by finding laces along the heroine’s back.
A man during the Regency did not have to be a rake or a womanizer to have knowledge of a woman’s undergarments. Having a sister, mother, or a dandy as a brother could provide the needed information. Some dandies wore Apollo or Cumberland Corsets. The male corsets bound the stomach and were constructed with whalebone to stiffen.
Picture E
One of the more interesting things, I found during my research is that girls also started
Picture F
in corsets (Picture F) at a young age. I suppose if you become accustomed to something early in life, it is easier to bear.
Today’s question: If you lived during the Regency and found yourself in a dire circumstance would you:
A. Do everything possible to save yourself, not caring of any possible ramifications.
B. Do everything possible, but you would worry about potential scandals or compromise.
C. Risk everything to a point. Your family name and position could not be threatened.
Please add your comment below. You could be today’s daily post winner. All comments will be entered into our grand prize drawing. For an extra chance to win click here: https://contest.io/c/8jhitnpz
Sometimes, there are words and events designed to provoke, to get under your skin, to upset the balance of your peace. Over time, I have learned that I can’t react to everything. There’s just too much noise. But some things are too important to ignore.
Right now, libraries are under threat. Institutions we’ve funded to preserve history, like Arlington National Cemetery, are erasing lesson plans that once provided a comprehensive view of our past. If you’re searching for biographies of heroic Americans who happen to be Black, who happen to be a woman or Spanish or Latin, they are no longer easily accessible. The only thing they haven’t done is dig up the graves. And honestly, I wouldn’t put it past them. Nothing seems too indecent or radical anymore. If you’re willing to close libraries or hinder children’s ability to learn about the sacrifices made to build this country, there’s no travesty or crime you won’t justify.
Keep reading Vanessa Riley’s Write of Passage! This post is public so feel free to share it.
Meanwhile, natural disasters rage across the country. Fires burn on both coasts, tornadoes tear through communities, and people are in pain. Leadership feels absent, leaving many confused and struggling to make sense of it all. And if you’re an author in the midst of this chaos, you’re still expected to go out there and promote your book.
Writers and artists often struggle with feeling that their work is inconsequential, that it can wait. But if the pandemic taught us anything, it’s that time is a gift, and there are no guarantees that we’ll see the next moment. The work we do now matters.
If you follow me on social media, you know I strive to keep my posts positive. I share stories that uplift fellow authors and women’s initiatives. I find joy in the simple things, like Megan Sussex gathering us all in a virtual group chat to bake cakes in beautiful pots or arrange flowers on our tables. I’ve seen people take that extra moment to make meals special, to nourish themselves, to create beauty in the everyday. And let me be clear—this kind of joy is a form of resistance. We should never stop embracing it.
But let’s get back to booking. Why is it that artists are expected to hold back from promoting their work in times of crisis? If a professional chef were asked to stop baking because wildfires were raging, we’d find it absurd. If a police officer were told to abandon their duty because of book bans, we’d question the logic. Yet authors are often made to feel guilty for marketing their work when the world is in turmoil.
I wish my job were just writing. But it’s not. Writing is only one piece. There’s also editing, revising, and—perhaps the most exhausting part—letting people know that my book exists. I wish I had an assistant to do it all. I wish we lived in the old days when publishers handled marketing, but that world no longer exists. Today, agents and editors look at an author’s social media presence as part of the package. That doesn’t mean you can’t get a contract without it, but having a strong online presence certainly helps. And maintaining that presence requires effort.
I gravitate toward the social media spaces that bring me joy. I’m active in many places because I have to be, not necessarily because I want to be. I use Facebook for recipe discussions, Instagram for visuals, and I pop into other platforms when necessary. Ideally, marketing wouldn’t be my primary strategy, but here we are.
For those struggling with promotion in the midst of chaos, know this: talking about your book is part of your job. Empathy and support for others are important, but so is your book. If you are traditionally published, sales determine future contracts. And sales won’t happen if people don’t know your book exists. Publishers won’t consider external factors when evaluating your performance. It’s on you to ensure your book gets noticed.
Even when the world is on fire, you have created something meaningful. You’ve brought characters to life, and they deserve to exist in the imaginations of readers. But that won’t happen if you don’t speak up. Your book, the product of months or even years of labor, deserves to be shared with the world.
I’ve said it before on this podcast: We write, we win. Your words matter. They might feel small in the grand scheme of things, but they provide escape and joy to readers. Someone out there needs the story you’ve crafted. But they won’t find it if you don’t tell them about it.
So, take a deep breath, lift your head, and shout from the rooftops: I have a book coming out! And speaking of books, I’m Vanessa Riley, and my next novel, A Wager at Midnight, the second book in the Betting Against the Duke series, is on its way. In this book, you’ll meet Scarlet, a bold young woman who dreams of studying medicine at a time when it is forbidden for women. She can’t even attend a lecture unless she disguises herself as a man. But Scarlet is determined, and she may just find an unexpected ally in a brilliant, slightly uptight physician from Trinidad who happens to love Jane Austen and cassava pone.
See what I did there? I told you about my book, even though the world is in chaos. I poured my heart into writing this story. I’ve included detailed historical notes for those who want to learn more. I hope A Wager at Midnight encourages readers to think deeper about sickle cell anemia, the importance of medical care, and, of course, the magic of falling in love—even when the world feels like it’s unraveling.
Authors and all artists, hear me. Let your art see daylight. Scream from the mountaintops. Walk on water shouting, Look what my hands have wrought with the talent given to me for a time such as this. Never be the servant who buried his talent in the ground because he was afraid of loss, of looking foolish, or of incurring some greater wrath. You are here. Now is the time. You’ve completed a project. Stand tall in your accomplishments and let the world know. Don’t bury your talent in the ground. Don’t waste a moment waiting for a better time. There is nothing better than now, for you don’t know who desperately needs to hear or see what you’ve done—to help them with their healing journey, to take the next step in their creative walk. Your words could be the fuel to propel them forward. What you do in creating changes the world to tilt a little more toward good.
And if you’re feeling stuck or unsure how to promote your own book, here’s a list of books that can help you step up your marketing game:
Platform: Get Noticed in a Noisy World by Michael Hyatt – A guide to building a strong personal brand and online presence, showing authors how to stand out and attract readers in an oversaturated market.
Black Boyby Richard Wright – A powerful memoir that can inspire writers to confront the harsh realities of life, self-doubt, and the struggle for personal truth and purpose. Wright’s story will resonate with anyone feeling like their work or life doesn’t matter.
And what you’ve been blessed to do as a writer or artist is to create. So, A Wager at Midnight– full of laughs, it’s a celebration of community told in a historical setting. Buy my book, she says proudly. As an artist, your book deserves to be seen, and your work deserves to be celebrated, even if the world’s burning.
Show notes include a list of the books mentioned in this broadcast. This week, I’m highlighting BookPeople through Bookshop.org. You can find my notes on Substack or on my website, VanessaRiley.com under the podcast link in the About tab.
Thank you for listening. Hopefully, you’ll come again. This is Vanessa Riley.
Wright, R. (2004). Black Boy. Harper Perennial Modern Classics.
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While I wait for Ruth to arrive, let me remind you what’s going on this week at Regency Reflections.
To celebrate Moonlight Masquerade, we’re running a special week-long contest. Starting today through next Friday, March 22, we’ll feature Regency quiz questions at the end of each post. To enter the contest, you’ll need to correctly answer the questions in the comment section below. For every correct answer, your name will be added into the drawing for a $25 Amazon gift card . There will be five questions in all, which means your name can be entered up to five times (if you get all five questions right). The deadline to answer ALL CONTEST QUESTIONS will be Saturday, March 23 at midnight.
Today, I have the pleasure of interviewing Ruth Axtell and talk with her about her exciting new release, Moonlight Masquerade. Ruth, welcome to my porch. Can I get you something? Tea? A scone?
No. Well, have a seat in this freshly dusted wicker chair. My footman (i.e. the hubby) will stow your landau. My tulips need a bit more manure. Now, tell me what inspired you to write Moonlight Masquerade?
I first got the idea quite a few years ago, so the memory is quite sketchy, but I think it was a dream I woke up with. It was in regency times, and I remember an aristocratic lady and her butler, who wasn’t really a butler at all. That’s all I had to go on.
So the butler did it? That was a risk given the societal norms of the Regency.
It was a challenge to have a noblewoman attracted to her butler, when social strictures would have scarcely had her seeing him as a human being on her level. So, I used the fact that she was a French Republican (i.e., believing in the original ideals of the French Revolution and Enlightenment-liberty, fraternity, equality) to make her see her servants differently than the normal mistress would have.
Wow, that is different, and you had to master so many facts about the French Revolution on top of your normal Regency research.
There were so many facts about the Napoleonic Wars that it’s hard to pinpoint just one. I think the more I read about Napoleon, the more I discovered how much harm he did to the European continent, and specifically that he set France back about a hundred years because of all the wars he led it through. Whereas Britain went full-speed ahead in the industrial revolution, bringing prosperity to its populations, France’s manhood, it’s agriculture, and money to invest in factories was decimated for a long time to come.
Ruth, let’s go back to the butler, Mr. Rees Phillips. What are his best and worst traits?
His best traits are his faithfulness and sense of duty. He has helped support his widowed mother and sister for many years since his dad died bankrupt. He is a loyal employee of the British government. But, these exemplary traits are also his worst because they make him rigid and uncompromising in many way. They also cause him to accept a subservient role in the Foreign Office where he has toiled for years.
Is Lady Celine Wexham a good match for Mr. Phillips?
She is passionate and impulsive. These traits allow her to give her all to a cause or to those she loves. But they also cause her to act before weighing the consequences.
Before, I ask you about the juicy stuff, can you sum up what spiritual truth would have made a difference to your hero’s journey.
That God is above politics, patriotism, and nationalism.
Sounds like a lesson we can all take to heart. What about Lady Wexham?
That God is good and wants only the best for her.
Now that we’ve filled our religious quotient (this is RegencyReflections.com/ChristianRegency.com), let’s talk passion. How would rate the novel’s passion: smokin’ like Louisiana ribs, tepid like warm chamomile tea, deliciously layered by red velvet cake, or some other decadent food?
Slow, simmering burn like a dark chocolate laced with cayenne pepper. You don’t realize there’s a bite till it has melted in your mouth, and it’s too late to spit it out.
So Lady Wexham’s and Mr. Phillips’s first cayenne seasoned kiss takes place about midway in the story. When you wrote it, what was going through your mind? I know the rhythm of a romantic song can set the pacing of a love scene for me. Even a Hershey with almonds can create a spectacular smooch.
I am in my characters’ mind, so I am experiencing their motivations and feelings. I don’t need music or chocolate so much as just getting into that zone of who they are and what they’re experiencing at that particular point in time.
Ruth, I admire your talent. You were one of the first voices I found bringing Regency stories to the CBA. How would you describe your career?
I describe a writing career as a challenge, which you undertake because you are compelled to. Currently most writers are trying to transition and adapt to the new digital age of book publishing. I describe successful as able to get the spiritual message across in each story, AND be able to make a living at writing.
Well, a three-book deal from Revell does help pay a few bills. Maybe a couple of Sunday bonnets. Before you get back in your landau and finish viewing our apple blossoms, tell me what nugget of truth you want the readers of Moonlight Masquerade to take with them.
That two people finding each other and falling in love, and submitted to God, can transcend whatever temporal differences seem to stand in their way.
Thank you, Ruth for stopping by and letting me run on about Moonlight Masquerade.
Here’s today’s question. Enter a comment with the right answer for a chance to win.
The title of Moonlight Masquerade refers to a masked ball. Which of the following costumes would not be a typical one at a regency ball masque?
a) shepherdess
b) pirate
c) hula girl
d) Harlequin
When I was in school, I once had a saying, “Sleep you can get any old time, but grades last forever.” At the time, I meant it. It wasn’t the best mindset, but it fueled my drive to maintain a near-perfect grades. As an overachiever, I found comfort in metrics—things that could be measured, quantified, and tracked. That’s how I knew I was doing well. They were the invisible pats to the shoulders. You did good. With working divorces parents who just always couldn’t be there, numbers were a great substitute. Numbers gave me a sense of security, a tangible way to validate my efforts, to validate me.
Vanessa literally on a treadmill.
Unfortunately, I’m not alone. I believe the validation race is everyone’s personal kryptonite and the obsession starts young. My last year in elementary school, I won everything—the Citizenship Award, honors in science and math, and a spot on the honor roll. It was an amazing experience to be recognized by my teachers and the principal. But I remember vividly that same day, being called to a third-grade classroom to encourage my younger brother. He was upset because he hadn’t won anything. I had to gently explain to him that awards like these were given in sixth grade because students were preparing to transition to middle school. It wasn’t his time.
Still, it was difficult to celebrate my accomplishments while knowing he was in pain. Even though he wasn’t eligible for the awards, he still felt the sting of being left out. That’s what the constant chase for validation does to us—we seek it even when we don’t need it, even when it’s not our time to be evaluated or recognized. We keep chasing the numbers, keep running on the validation treadmill.
But the problem with numbers is that when you focus on them too much, you can lose sight of the journey. This isn’t just an issue for young people and students—it follows us into adulthood, into our careers, and for those of us who write, into the publishing world. As an author, numbers are everywhere. It starts with the word count—how many words it takes to complete a manuscript; how many get cut during editing. Then comes the timeline—how long it takes to get through copyediting. A friend of mine showed me how to take a manuscript that has been copy-edited and put it into Pages to track the number of revisions. And while that was cool to learn, it was just another number to haunt me, to obsess over, and to try to get right—whatever that means.
More publishing numbers: how quickly the book needs to be turned around, how many months, days to pub. And then, the numbers shift to reception—the number of reviews, Goodreads ratings, NetGalley and Eidelweis requests. The numbers don’t stop. They just change shape.
Once the book is out, the chase continues: the number of posts on social media, the number of followers, the number of subscribers. The formula for success remains elusive, and the pressure builds. Writers aren’t alone in this. No matter your field, numbers are always chasing you—performance metrics, annual reviews, engagement rates, sales quotas. The cycle never ends. And after a while, this constant pursuit can overshadow the real goal: growth, creativity, and fulfillment.
This endless race can lead to burnout. And burnout looks different for everyone. Some people cry. Some people yell. Some people run miles to clear their heads. Me? I bake deep-dish apple pies. My husband knows I’m in trouble when I start making a pie crust from scratch for no particular reason. He can hear how hard I’m chopping those apples. He sees the intricate lattice work I’m designing on the crust—each crimped edge and delicate braid a sign I’m trying to regain control in a world that feels overwhelming. That’s when he knows to bring me a latte or a pile of chocolate, because his wife is spiraling.
The truth is, we all need people who can pull us out of the chase, who can remind us to stop counting and start living. Rest is not a luxury—it’s a necessity. And rest doesn’t always mean sleep. Just as praying without ceasing doesn’t mean sitting still, resting is an active practice. It can be stepping away from the numbers, engaging in something that feeds your soul, or simply taking a breath. Rest looks different for everyone, but without it, we suffer. Our bodies wear down, our creativity dims, and our minds stop firing in the ways they need to. For a writer, that means losing the very words we work so hard to find.
How do we heal? How do we stop the obsession? I don’t know. We all tick differently. Some books that might help are:
The Courage to Be Disliked by Ichiro Kishimi & Fumitake Koga – A thought-provoking book based on Adlerian psychology that challenges the need for external validation and encourages self-acceptance.
Radical Acceptance by Tara Brach – Explores the power of self-compassion and mindfulness to break free from the cycle of seeking approval.
The Gifts of Imperfection by Brené Brown – A powerful read on embracing authenticity and letting go of the need for validation from others.
What Happened to You? by Oprah Winfrey & Dr. Bruce Perry – Looks at how past experiences shape our need for validation and how to heal from them.
Fiction provides great examples of validation in all stages. Before I Let Go by Kennedy Ryan deals with validation, self-worth, and healing for both main characters, Yasmen and Josiah, as they try to define their post-divorce evolving identities.
One of the reasons I loved writing Scarlet Wilcox in my upcoming novel A Wager at Midnight is because she has divorced that part of her brain that seeks judgment. She doesn’t care what others think unless it affects her family. Yet, as brave, bold, and daring as she is in seeking her path to bring medicine to those who cannot get it—those whom society deems ineligible or unworthy—she still slips into wanting validation from a physician, Stephen Carew. Scarlet is a good balance of all of us, and I loved writing those moments where she is free of cares and when she’s forced to face her fears.
So I am giving you permission to take a moment for yourself. If you take nothing else from this podcast, learn this: It’s okay to rest. It’s necessary to rest and not focus on numbers or being superhuman. If you don’t take care of you, your body, mind, and creative being, the world will chew you up body, dry up your spirit, and move on to the next overworked soul.
But you? You are the hero of your own story. And every hero needs rest. So take off your cape, stretch it into a hammock, and allow yourself a moment of peace.
Show notes include a list of the books mentioned in this broadcast. This week, I’m highlighting Eagle Eye Bookshop through Bookshop.org.
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Thank you for listening.
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
One of my first essays on Substack, when I was testing out what I wanted to do, was about my editing process. Before I began podcasting, I was exploring my platform and had just gone through a brutal but necessary copyedit, and I wanted to talk about the lessons learned.
Write now in the ethos of publishing is a bit of a scandal about a writer when given feedback about an offensive bit of dialog in their novel, decided to keep it in to show the main character as “flawed.” Yes, racism is a flaw. Expressions of racism in a main character, a romantic hero is a flaw. I really do like my romance novels, well all novels without a side of microaggressions.
Some people argue that everyone is too sensitive or “too woke.” Others seem to long for a time when publishing was less scrutinized, less inclusive. You know, when inflammatory content could be published without consequence. Some long for the so-called “good old days” when most books catered to a dominant perspective reinforcing loud stereotypes, atmospheric patriarchal notions, or subtle supremacy.
Words are powerful. They can expand imaginations and help build better societies. When an author is not sensitive to the needs of others, that author will be found arguing with reviewers on social media, making faux apology videos, and getting publishers in trouble. If the scandal arising from publishing microaggressions, stereotypes, cultural appropriations, or racist and ableist sentiments is big enough, that author may face bans or delays in publication. If they have a fan base, they’ll be alright. I just don’t think it’s not worth it. No insensitive hill is worth dying on.
I’m 27 books into this process—twenty-five published, with number 26, A Wager at Midnight, set to release March 25. I value opinions, especially those different from mine or from perspectives and backgrounds unlike my own. I actually get nervous when an editor gives little to no feedback—I want it all. Iron sharpens iron. Critiques are how writers improve.
So let me pull back the curtain and share my process and how edits and sensitivity fit in the writing process.
First, I write the worst draft in the world. ➡ Revise ➡ Then Revise Some More ➡ Developmental Edits ➡ More Revision ➡ Sensitivity Review ➡ Copyediting ➡ Proofreading ➡ (And Pray—throughout!)
Worst Draft in the World
Every writer has to know how they write. I know my first draft needs to be between 25-30% of the final book’s word count. Any more than that and I’ll overwrite the book when I revise. That first draft is naked. I spend time, revising adding mood, colors, setting, historical touches, and emotional depth. I usually revise the awful-no-one-will-ever-see-it draft three times before going to the next stage.
Developmental Edits
Developmental editing tackles the big-picture elements: story structure, pacing, plot, character arcs, and themes. This stage addresses questions like: Does the story flow logically? Are the characters well-developed? Are there plot holes or inconsistencies? What’s the message? What’s the theme?
For every book I write, I hire a freelance editor. My Felicia gets the manuscript before my acquiring editor. Why? I want to turn in the best possible version of this book. So that editor won’t have to spend time plugging plot holes, catching redundancies, etc. One time, Felicia caught when I’ve changed character names mid-story. She knows me—and more importantly, she knows what I’m capable of delivering. I can confidently hit send to my acquiring editor knowing the manuscript is good. My editor gets it, and with their input, we can make a great book.
Back to Revisions
Back in my hot hands with my editor’s notes, it’s time to revise the manuscript again. This is my chance to refine it. I will rewrite sections and cut stuff. I’m rarely asked to expand—such is the happenstance of being a wordy, word-loving author. But I’m brutal at this stage. No word, storyline, or character is safe. I will cut. I will cut with abandon. In my next historical fiction coming January 2026, I cut 55,000 words. Let me say that again. Fifty-five thousand. Yes, it sucked. It hurt. It’s not like I can just put these words into another book but it was the best call. The book is better for. I believe in my editor’s feedback. I’ll do what’s necessary to send readers the best book.
At this point we’re in good shape. Let’s get back to being sensitivity.
The Sensitivity Touch
Sensitivity readers are supposed to review the manuscript to ensure your beautiful words doesn’t offend, get you sued, or put you on a watch list. Every one of my historical fictions—Island Queen, Sister Mother Warrior, Queen of Exiles– has been subjected to sensitivity reviews. My editor, publisher, and I want to make sure these books are accurate and respectfully represent cultures, identities, and historical events.
It’s a crucial step. It can’t be overlooked when tackling diverse characters or sensitive topics. Look, I am Black. I’m of Caribbean descent. Dad was Trini and Ma was Southern Baptist Black. I don’t get a pass to say I can automatically write about Haitian or Jamaican cultures. I do meticulous research about the most minute details, because I take my responsibility very seriously to represent these cultures and ancient peoples with respect. But I’m not perfect. I want the help. I need someone to kick my manuscript and put it through the emotional-cultural wringer before I get lit on fire by putting something out that’s wrong or, worse, offensive.
Sensitivity readers provide essential notes on areas that may inadvertently cause harm or perpetuate stereotypes. Writers, we are not supposed to do harm. Stories have power. They have a life and energy of their own. Authenticity and inclusivity elevate your writing. Don’t you want positive impact?
Copyediting and Proofreading
We’re not done. Copyediting and proofreading take our writing to the finish line. Copyediting hones in on the finer details and examines grammar, punctuation, sentence structure, consistency, and clarity. The previous edits have messed with the story a lot. A copyeditor should identify errors and flag inconsistencies. A good copyeditor will highlight blocking (the entering and exiting of characters from a scene) repetitive words or phrases—those dreaded echoes! A great copyeditor will teach you something. I recently learned that “hubris” wasn’t used until the mid-19th century—a fascinating tidbit for a proud historical fiction writer trying to write a 17th century novel.
Proofreading
A proofreader does a final pass before publication. They catch lingering typos, formatting issues, and minor errors that slipped through earlier stages. Even the most seasoned author can’t catch every mistake, not on their own. Proofreading ensures your book meets top quality standards.
My Mantra for Edits
All the hard work in crafting a story means nothing if you neglect editing or decide on a whim to leaving in something “flawed” for kicks. Welcome to my Ted talk:
* Absorb the critique: It’s not an attack—it’s insight. Sensitivity edits aren’t judgments on you, but your characters. Listen to the wisdom.
* Weigh the Critique: There’s a difference between personal preference and a flashing red light—know which you’re dealing with.
* Have Your Sources Ready: Have your references handy to support accuracy. Include them in your author’s note. Someone is bound to have the question. (PSA: Always add an author’s note.)
* Query, Don’t Assume: Never make a decision to revise—or not—based on assumptions. Challenge both your own and your editor’s perspectives. Make sure neither is rooted in a colonizer’s lens—unless you’re literally writing about Christopher Columbus. (Example: A copyeditor once tried to tell me the Khoe people were incorrectly addressed. That I shouldn’t call them by that name or “Khoesans” because it was created in 1928. The Khoe have existed since 2300 BC. My book was set in 1675. I think Khoe is good. Source documents are in the author’s note.
* Question Dialogue and POV: Read the editors notes. Sometimes they are right about things sounding “too formal or stilted.” Read actual correspondence from the period. It will surprise you about how informal things can be. Make sure you read James by Percival Everett or Lady Tan’s Circle of Women by Lisa See, two masterful uses of dialog entwined to tell ancient stories for the modern audience.
* Be Humble: Negative feedback stings, but it’s a tool for growth. Questions and queries are opportunities to clarify, refine, and strengthen your work.
* Avoid Harm: Represent cultures with authenticity and respect. Sensitivity edits help you sidestep pitfalls that could undermine your credibility.
* If someone flags an issue, fix it: Even if you don’t see it as a problem, take it seriously. If one reader finds something harmful or offensive, chances are others will too. If you are dealing with fictional characters, you can change stuff. If real people are jerks, that’s harder—see A People’s History of the United States” by Howard Zinn to learn or debunk ideas about the horrid exploits of Christopher Columbus. I don’t believe in whitewashing or hiding the truth. Dismissing concerns as “not a big deal” is a failure. It is a big deal. Rise to the moment.
Editing is an investment—not just for your benefit but for your readers. Every stage—developmental edits, revisions, sensitivity reviews, copyediting, and proofreading—are needed to make your novel the best it can be. Your story, your readers, and your publisher deserve that effort. Don’t be defensive. Do the right thing.
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
I found a bit of time to read this weekend. For me, that would be a Regency novel. Obvious huh. As I looked at my two-decade-old collection, I started thinking about the types of plots I really love. Three stood out: Old Lovers, Make-Me-Love-You Heroes, and Marriages of Convenience.
Old Lovers
While I enjoy the whole “find a stranger/ love a stranger” aspect of most novels, the Old Lovers: loved once, love lost, love regained, really appeals to me. I recently finished Flight of Fancy, and the richness of the history between Cassandra Bainbridge and the Earl of Whittaker makes the story. It adds a subtle tension through the whole book, causing even mundane actions like Whitaker walking away from Cassandra to contemplate banging his head against the window in frustration, sexy. I wouldn’t feel his pain, if I didn’t know how long he’s loved her and his confusion of how to win her back. I wouldn’t sigh as I see Cassandra noticing Whittaker leaning against the window and noting he’s not gangly any more but well-set, all man now. Hubba Hubba.
And I’ll say it. You can’t get away with “Lessman” like passion starting on page 1 with strangers, unless of course, this is a bodice ripper Regency, but we don’t write that here. 🙂
On my radar to read, Mary Moore’s Beauty in Disguise. Seems that old lovers, Lady Katryn and Lord Dalton have a story to tell in the woods.
The Make-Me-Love-You Hero
What is a make-me-love you hero? This is an intelligent swarthy hero with a smidge of alpha-male arrogance. I know what you’re saying. “Arrogance, really Vanessa. I don’t want to read about a stuck-up hero. ”
Let me explain. Yes, a touch of arrogance is a requirement. It causes him to be deluded into believing he alone can save the heroine from all her woes. This adds to his fall or black moment. It changes him forever. It will make his “somewhat loose bond to God” stronger, more personal, more real.
Oh, he must also be smothered in a big dollop of humor, particularly, self-deprecating humor. It’s a rare combination like a handcrafted tea, but when you find him, you’ll drink him in, reading him over and over again.
And it goes without saying, he must be romantic. I need him to whisk me off my feet and carry me to safety after he bests the footpads. He should whisper sweet Latin or poetry or verses penned by Solomon in my ear to soothe my nerves. Then at the right moment, his rough knuckles will traverse my jaw, tipping my chin to the right angle to kiss me ’til I nearly faint. Or at least he’d want to but his gentlemanly manners prevented it.
Who are these men? You’ve met them: Mr. Knightly (though he needs more humor) of Emma, Mr. Darcy (after he falls for Elizabeth) of Pride and Prejudice, Dominick Cherrett (from start to finish) of Lady in the Mist, Adam Drake of A Proper Marriage(Zebra-Traditional Regency), and Justain Delveaux of Madeline’s Protector (Ok, you’ll get to meet him in April). There are so many more that I can’t do this post justice.
Sigh, sorry I was in my happy place thinking of these heroes, back to Regency Reflections. P.S. please comment with more Make-Me-Love-You Regency heroes. I need to add to my bucket list.
On my Radar: Major Gerrit Hawkes of the Rogue’s Redemption. I hear he’s a naughty guy turned good by the love of a good woman and a good God.
Marriage of Convenience
As I said before finding love with a stranger can be stirring. Nonetheless, having to marry said stranger before you knew you loved him is positively fascinating. The idea of marrying a stranger is probably making you cringe. This complete loss of control in a matter of the heart would lead to many hours of prayer and/or counseling. Yet, did you know that the average divorce rate of arranged marriages is 6%1? Did you know the average divorce rate amongst Christians (those who regularly attend church) is 38%, 60% for Christians who don’t attend church regularly 2. So let’s not scoff at these marriages based upon factors other than love.
Let Me Explain What a (Regency) Marriage of Convenience is and What it is Not.
A marriage of convenience is a real marriage, not a fake one. It must be officiated like every other marriage, with licenses, banns, etc. In Regency times, these were marriages for life. There is no “let’s get married” for a few years and then divorce. As a matter of fact, there is practically no divorce. Unless the husband continually cheated with the wife’s sister to the point the wife could not forgive him and was constantly reminded of the infidelity, Parliament saw no reason to grant a divorce. Thus, divorces were extremely rare in England since it had to be sanctioned by Parliament.
There was such a thing as a Church Divorce. This was not a legal divorce but a separation ordained by the church. This did not dissolve the marriage or allow someone to marry another. It was just a civilized way to separate. Women needed to be particularly careful in this situation. The husband could keep custody of the children, as it was his right to decide where the minors would live. He could prevent her from ever seeing them. Under a Church Divorce, the husband could do the bare minimum to provide for the wife. Again not a good situation for the wife.
A marriage of convenience did not have to involve a compromised party. It might just be convenient. I truly love, when a hero accidentally or purposely compromises the heroine and is now forced to save her (and his) honor(s) and must marry the heroine. Yet, this is just one contrivance. They may decide to marry to fulfill the requirements for an inheritance, to join lands, to protect the heroine, a parent’s dying wish, or an overly complex and contrived plot. Many reasons, just not for love.
A marriage of convenience does not mean no nookie. This was a real marriage with a marriage bed. As Hebrews 13:4 says, “The Marriage is honourable in all, and the bed undefiled.” So if the parties are inclined or they needed an heir…. Well, you get the picture.
Alas, most of my favorite Marriage of Convenience stories are found in the old traditional Regencies (Inspy’s we need more of these): The earl and countess of Sanborn in the Perfect Mistress (Bantam), the earl and countess Faulconer of A Convenient Marriage (Zebra), the earl and countess of Slenford of The Earl’s Mistaken Bride (Love Inspired).
On my radar, Marriage of Inconvenience by Cheryl Bolen. Is the practical marriage of the Earl and Countess of Ansley doomed or just beginning? I’m going to have to find out.
References
UNICEF, Human Rights Council, ABC News, 8/12/2012
Bradley R.E. Wright, Christians Are Hate-Filled Hypocrites …and Other Lies You’ve Been Told, (Minneapolis, MN: Bethany House, 2010), p. 133.
