Just One Bite

I wrote a 'Quickie' for Ellora's Cave - a paranormal story set in the UK - and it came out a week ago.
It's supposed to be funny - so I hope it brings a smile to the face of those who read it. It's less than £2 to buy.

Just One Bite - Barbara Elsborg

Liv is having the day from hell. Hit on by her piggish landlord, a victim of an attempted mugging by a guy who bites, and then her hair gets caught in the coffee machine. Things go from bad to worse when she’s stalked on her way home, and the stalker turns out to be the morning’s mugger. Except he’s tall, dark and delicious, offering an apology, flowers and a body to die for. Oh, and he wants to cook a steak dinner just for Liv.



There’s just one snag. He’s a raving lunatic who thinks he’s a werewolf.

Buy here:

http://www.jasminejade.com/p-9764-just-one-bite.aspx

Also buy here:


http://www.amazon.co.uk/Just-One-Bite-ebook/dp/B006E1A7A2/ref=sr_1_1?ie=UTF8&qid=1323193472&sr=8-1

A Sprig of Broom

My latest novel A Sprig of Broom is published today in e-book form initially, at www.whiskeycreekpress.com. I say my latest book but really this is an old book with a new cover. It is in fact the first novel I ever had published. Published by Robert Hale Limited, in hardback, this medieval romance was the culmination of much research and many visits to the wonderful Middleham. John and I used to spend a lot of time there and in the Harlech area. The latter was my inspiration for Lord Llanaber's castle and lands. I loved it there and still do and I think it is this love that persuaded my heroine, Cecily Hadfield, that this was indeed a magical land.

A lot of water has gone under my bridge since this novel was published. I swopped genres going onto write contemporary and romantic suspense, as well as historical romance. The first day we heard that this novel had been accepted John and I drank champagne, and ever after he always bought me a bottle of champagne when I had a Hale novel accepted. Happy days, and, I am happy to say, many bottles littered our kitchen.

I wanted to publish this novel again because twenty two months ago I lost John. I guess I wanted to relive those happy days. Today I am not drinking champagne, I am just doing mundane things but somewhere deep inside my heart is singing. Lady Cecily has to learn to sing again too, and to a very different tune. She succeeded, I think I will too...

Lysandra Press, a new romance and women’s fiction ebook publisher

I’m excited but nervous about the launch of our new website http://www.lysandrapress.com/ today but after a year in development working closely with our authors, I am feeling pretty confident that we have a smashing website and some excellent titles – hopefully something for everyone. - Ruth Little

Here is a taste of what’s on offer:

Fiona Dalrymple is shocked to learn on the death of her grandmother that Doreen Dalrymple was not her grandmother at all. Her real grandmother, her grandfather's first wife, Ellie Marsden is still alive and when Fiona meets up with her, Ellie has a further shock for Fiona. She also has a brother. What is more Tim has disappeared and Fiona is charged with the task of finding him.

Pippa Cavendish is blonde and beautiful and no one's idea of a conventional nanny, but Lilly Fontaine loves her. Marc Fontaine her father suspects Pippa is not all she appears to be and he is right. Pippa is harbouring a secret, one she is determined to keep hidden at all costs.

Behind manicured lawns and bourgeoning gardens, the apartment building is much like any other in the community. The contrast of its aging structure and decorative foyer reflect the charm of Springfield Place – its elegant lobby prominent; its deteriorating corners hidden from view. Home to an intriguing array of characters who pass in elevators and along pathways, its residents – secrets intact – exchange vague greetings, then continue on their journeys. Some find the casual acknowledgement enough. For others, chance encounters and their pleasantries offer salvation.

Stop for a moment at Springfield Place. Share a glimpse within its walls.

Widow of a professional yachtsman, Cassie Lewis is busy running the family boatyard in Devon. When catastrophe strikes, Cassie has to accept she can’t change the inevitable.

‘If you refuse and leave, you will have thrown away your son’s inheritance.’ With those words Nicola is blackmailed by Henri her ex-father-in-law, into moving to France with Oliver her young son.

Wildlife expert Susannah Stevens has landed the perfect job at a hotel on the coast of Kenya. But the last person she expects to be working for is Greg Fairchild, the man who deceived her years ago and who believes she’s just a gold-digger. With the future of the hotel at stake, they agree to work together. But can they put past feelings behind them?

Young widow Val Baker restores musical instruments, but fears her relationship with her Greek-Italian family on Corfu is broken beyond repair. Returning to the island to work on a rare piano belonging to her Greek friend Alexia, she finds her dreams haunted by memories of Hilary; a young English girl raped and murdered ten years before. Val determines to uncover the truth about the case, and set to rest her own doubts about the involvement of her father, Yiannis, and half-brother, Markos, both policemen who were involved in the original investigation. Joined by her friend Harry, Val begins to unravel the threads. When two strange tokens arrive, one for Alexia's daughter Chloe and one for Val, it becomes clear that Hilary's unknown killer is on Val's trail. Her search for the truth becomes a race for life.


I hope to keep you posted on twitter of our progress. In the meantime, if you are a new author, or an established writer who would like any of your printed books to reach a wider audience through epublishing, we would love to hear from you - submissions@lysandrapress.com .

Hello everybody.

At last I am able to contribute to this blog.  Happy days.  I will post something more considered in due course but this is just to say 'Hi,' and (hopefully) to confirm my invitation to be here!

Gillix

Creating Believable Characters in Historical Fiction

Thoughts on Creating Believable Historical Characters

So far, I have only written historical novels set in England, but regardless of when and where a novel is set the characters must be believable.

Before I start writing a historical novel I name my characters. I find The Oxford Dictionary of English Christian Names invaluable.

Even then, I can go wrong. For example, in my work in progress set in Edward II of England’s reign I named the hero’s father, Marmaduke. Someone who critiques my chapters pointed out that Marmaduke is the name of a popular cartoon character in the U.S.A. To be on the safe side I checked in the Oxford Dictionary of English Christian Names and found out that Marmaduc was mentioned in the Assize Rolls in 1219 so I renamed my character.

It irritates me when, for example, a character is called Wendy prior to 1904 when J.M.Barry first used it in Peter Pan. It also causes me to lose faith it he author.

After I name my characters I create a detailed profile for each major character. Later, as I introduce other characters, I create a simple one for each minor character. This helps me to breathe life into each protagonist.

Amongst other things in the profiles, I describe the character’s physical appearance, background, and, if necessary, regional accent. In dialogue, I indicate the accent and try not overdo it. (I’ve noticed that some authors who set their novels in Scotland use words such as ‘aye’, ‘ye’ etc., so often that it is irritating and makes the dialogue difficult to read.)

Other considerations are financial circumstances, home life, education, and relatives who assist or obstruct my character.

Characters’ behaviour and attitudes need to be in accordance with the historical period that a novelist has chosen. In my opinion, and others may disagree, a novel in which the characters act like 21st century people transported back in time. Before I begin a novel I work my way through a pile of reference books in order to understand contemporary attitudes and beliefs.

I also need to understand the ramifications of class. For example, in my mediaeval novel an earl wants to dress his mistress in opulent clothes but obeys the law governing what different classes may wear. Status is another important consideration. The earl’s mistress (a villein) plans and plots ways to gain her freedom.

Another important consideration is the position of women in society. Other than widows, did they have any control over their property? Did they have any say in the way their children were brought up? What were the differences between women from different classes? Something a novelist needs to bear in mind is that throughout the ages, women have been controlled by men due to factors such as family ties, financial considerations and the law. If a woman chose to defy her father, legal guardian or husband, what would her situation be? Without masculine support, how would she survive? Another question that needs to be answered is how men regarded women.

A historical novelist needs to know how those in the chosen era regarded the world around them. What did they think of foreigners, other religions, education, war, etc? For example, depending on when the novel is set, and to name a few issues, what were the attitudes towards the Roman occupation, Wars of the Roses, the dissolution of the monasteries, the Roman Catholic Church, the British Empire and the 1st and 2nd world wars.

There are many other things to consider, including the clothes which were worn. I was very amused by a young woman in a novel who ran for a mile in spite of tightly laced stays stiffened with whalebone and full skirts and petticoats.

There are many traps for the unwary novelist but with careful research most of them can be overcome.

http://www.rosemarymorris.co.uk
http://rosemarymorris.blogspot.com

Thoughts on Creating Believable Historical Fiction

Thoughts on Creating Believable Historical Characters

So far, I have only written historical novels set in England, but regardless of when and where a novel is set the characters must be believable.

Before I start writing a historical novel I name my characters. I find The Oxford Dictionary of English Christian Names invaluable.

Even then, I can go wrong. For example, in my work in progress set in Edward II of England’s reign I named the hero’s father, Marmaduke. Someone who critiques my chapters pointed out that Marmaduke is the name of a popular cartoon character in the U.S.A. To be on the safe side I checked in the Oxford Dictionary of English Christian Names and found out that Marmaduc was mentioned in the Assize Rolls in 1219 so I renamed my character.

It irritates me when, for example, a character is called Wendy prior to 1904 when J.M.Barry first used it in Peter Pan. It also causes me to lose faith it he author.

After I name my characters I create a detailed profile for each major character. Later, as I introduce other characters, I create a simple one for each minor character. This helps me to breathe life into each protagonist.

Amongst other things in the profiles, I describe the character’s physical appearance, background, and, if necessary, regional accent. In dialogue, I indicate the accent and try not overdo it. (I’ve noticed that some authors who set their novels in Scotland use words such as ‘aye’, ‘ye’ etc., so often that it is irritating and makes the dialogue difficult to read.)

Other considerations are financial circumstances, home life, education, and relatives who assist or obstruct my character.

Characters’ behaviour and attitudes need to be in accordance with the historical period that a novelist has chosen. In my opinion, and others may disagree, a novel in which the characters act like 21st century people transported back in time. Before I begin a novel I work my way through a pile of reference books in order to understand contemporary attitudes and beliefs.

I also need to understand the ramifications of class. For example, in my mediaeval novel an earl wants to dress his mistress in opulent clothes but obeys the law governing what different classes may wear. Status is another important consideration. The earl’s mistress (a villein) plans and plots ways to gain her freedom.

Another important consideration is the position of women in society. Other than widows, did they have any control over their property? Did they have any say in the way their children were brought up? What were the differences between women from different classes? Something a novelist needs to bear in mind is that throughout the ages, women have been controlled by men due to factors such as family ties, financial considerations and the law. If a woman chose to defy her father, legal guardian or husband, what would her situation be? Without masculine support, how would she survive? Another question that needs to be answered is how men regarded women.

A historical novelist needs to know how those in the chosen era regarded the world around them. What did they think of foreigners, other religions, education, war, etc? For example, depending on when the novel is set, and to name a few issues, what were the attitudes towards the Roman occupation, Wars of the Roses, the dissolution of the monasteries, the Roman Catholic Church, the British Empire and the 1st and 2nd world wars.

There are many other things to consider, including the clothes which were worn. I was very amused by a young woman in a novel who ran for a mile in spite of tightly laced stays stiffened with whalebone and full skirts and petticoats.

There are many traps for the unwary novelist but with careful research most of them can be overcome.

http://www.rosemarymorris.co.uk
http://rosemarymorris.blogspot.com

Thoughts on Writing Historical Fiction

Thoughts on Creating Believable Historical Characters

So far, I have only written historical novels set in England, but regardless of when and where a novel is set the characters must be believable.

Before I start writing a historical novel I name my characters. I find The Oxford Dictionary of English Christian Names invaluable.

Even then, I can go wrong. For example, in my work in progress set in Edward II of England’s reign I named the hero’s father, Marmaduke. Someone who critiques my chapters pointed out that Marmaduke is the name of a popular cartoon character in the U.S.A. To be on the safe side I checked in the Oxford Dictionary of English Christian Names and found out that Marmaduc was mentioned in the Assize Rolls in 1219 so I renamed my character.

It irritates me when, for example, a character is called Wendy prior to 1904 when J.M.Barry first used it in Peter Pan. It also causes me to lose faith it he author.

After I name my characters I create a detailed profile for each major character. Later, as I introduce other characters, I create a simple one for each minor character. This helps me to breathe life into each protagonist.

Amongst other things in the profiles, I describe the character’s physical appearance, background, and, if necessary, regional accent. In dialogue, I indicate the accent and try not overdo it. (I’ve noticed that some authors who set their novels in Scotland use words such as ‘aye’, ‘ye’ etc., so often that it is irritating and makes the dialogue difficult to read.)

Other considerations are financial circumstances, home life, education, and relatives who assist or obstruct my character.

Characters’ behaviour and attitudes need to be in accordance with the historical period that a novelist has chosen. In my opinion, and others may disagree, a novel in which the characters act like 21st century people transported back in time. Before I begin a novel I work my way through a pile of reference books in order to understand contemporary attitudes and beliefs.

I also need to understand the ramifications of class. For example, in my mediaeval novel an earl wants to dress his mistress in opulent clothes but obeys the law governing what different classes may wear. Status is another important consideration. The earl’s mistress (a villein) plans and plots ways to gain her freedom.

Another important consideration is the position of women in society. Other than widows, did they have any control over their property? Did they have any say in the way their children were brought up? What were the differences between women from different classes? Something a novelist needs to bear in mind is that throughout the ages, women have been controlled by men due to factors such as family ties, financial considerations and the law. If a woman chose to defy her father, legal guardian or husband, what would her situation be? Without masculine support, how would she survive? Another question that needs to be answered is how men regarded women.

A historical novelist needs to know how those in the chosen era regarded the world around them. What did they think of foreigners, other religions, education, war, etc? For example, depending on when the novel is set, and to name a few issues, what were the attitudes towards the Roman occupation, Wars of the Roses, the dissolution of the monasteries, the Roman Catholic Church, the British Empire and the 1st and 2nd world wars.

There are many other things to consider, including the clothes which were worn. I was very amused by a young woman in a novel who ran for a mile in spite of tightly laced stays stiffened with whalebone and full skirts and petticoats.

There are many traps for the unwary novelist but with careful research most of them can be overcome.

http://www.rosemarymorris.co.uk
http://rosemarymorris.blogspot.com