Writing the Wedding Night: Suzan Lauder’s LfmM

Sexual tension tends to underscore the conflict in a romance novel. Part of the fantasy that many readers enjoy is the culmination of that sexual tension. However, many authors are squeamish about writing “Those Scenes.” Thankfully, a number of approaches are open to authors who want to include consummation in their romance novel.

The author can prepare by developing a vocabulary by doing some research, i.e., reading examples of steamier scenes. Historical romance writers such as Sarah MacLean, Miranda Neville, Tessa Dare, Amy George, or the older works of Abigail Reynolds have good examples. Modern writers will have an easier go of it. I don’t read many modern romances, but Catherine Gayle’s and Sylvia Day’s works have some good inspiration in them. When reading such scenes by authors you like, keep a list of words that work well for you as a reader.

Suzan Lauder’s Learning from my Mistakes Lesson #15: Get inspiration from others for those difficult-to-write scenes.

 

Don’t utilize full phrases or sentences from others’ work, though, as you don’t want to violate copyright. I use a rule of thumb of fewer than five words.

Utilize language reminiscent of fire and heat. Use a thesaurus for “passion” and “desire” and similar words to develop a vocabulary for your scene. If you’re writing a period romance, use words that evoke that time period. Clothing details are important, and language that reflects the period is just as critical. Research slang words of the era, ensuring not to use them inappropriately.

Scenes that build up to the consummation are essential to your scene-setting. Begin with observation of the physical attributes or actions that the protagonists admire, coupled with descriptions of their personal physical reactions they try to hide from their future love interest. If you’re writing from a limited third person (close or deep) point of view, remember your point-of-view character can’t see their own physical response, e.g., a blush. Describe their reactions as if you’re in their head.

You don’t have to go into elaborate detail in every scene. Use step-by-step scene building with brief interludes of physical contact in earlier chapters as the attraction between the couple builds. That way, the reader won’t be startled by the time the author has reached the sex scene. The types of language and descriptions of body parts is the only difference.

Suzan Lauder’s Learning from My Mistakes Lesson #17: Let your romantic encounters build. Pick and choose aspects of love making to prepare the reader for the culmination.

 

As the duration and intimacy of the prelude contact becomes longer, it becomes more important to imagine the choreography of the interaction broken down into steps, even if you don’t fully describe each step. Be aware of how the sexual tension is fulfilled yet lacking at each step. Ensure you’re describing not only physical reactions, but the thoughts of the point-of-view character for the scene—and it should be told only from one point of view! Head-hopping will ruin your flow.

The rate at which the physical encounters develop differ dramatically between a modern New Adult or contemporary romance novel and a period romance such as Victorian or Regency. Opportunities and societal norms will delay physical contact in the latter, and the writing will involve more sexual tension via dialogue, observation, and physical reactions. Consummation will often preclude relationship-building in the former, meaning more full sex scenes. Dramatic tension in modern scenarios will tend to be related to outside forces at least as much as the relationship itself.

In physical interaction scenes, take care not to make the action mechanical: “Tab A into Slot B.” I once got caught out in a modern romance with a car make-out scene where I mentioned she had one arm on the armrest and the other on the console as she leaned in for his kiss. Who cares where her elbows were? Readers want the lip action!

How much the author is personally affected while writing the scene, or objective and unaffected, depends on the individual. I find that considering step-by-step movements and struggling for the right sexy word does not make me, as the writer, feel all that steamy, even in a fairly descriptive scene. Others may need to plan ahead to relieve some energy.

A new author asked a group of others, “I’m a virgin, so how do I write a sex scene?” As with any aspect of writing, reading and Internet research becomes more important with lack of personal experience, but it’s not impossible for a person who has never had sexual contact to write an excellent sex scene any more than to write about speakeasies, car chases, or a ballroom lit with candelabras. Reading romance novels can help develop a sense of the aspects within the scene that any author is comfortable communicating. The author has the opportunity to choose the detail they wish to include, from a romantic inference to full-on erotic descriptions of the act.

An exercise that many have enjoyed is “The Kissing Challenge.” The object is to write a steamy scene that involves kissing but no consummation. It’s good practise of your mature scene vocabulary and coordinating of movement. My first “Kissing Challenge” scene became Chapter 21 of my first published novel, Alias Thomas Bennet, and the A Happy Assembly Playground story A Garden Encounter was a further opportunity for me to spread my wings in a non-consummated scene. Both are somewhat explicit, something that’s not necessary in order to create the sexy atmosphere you want as a writer. Sometimes less is more, and implications can be stronger than explicit language. Here are some examples of sex scenes that don’t include a great deal of detail:

The first sex scene from JustineR’s unpublished modern Pride and Prejudice comedy-romance Off Balance: “As in their professional lives, she was highly energetic and creative, while he was thorough, careful, and steady, a detail man. She was very goal-oriented, but he paid attention to process and to making certain all the important points were touched on methodically and completely. These complementary approaches made for excellent teamwork, and their joint efforts produced an impressive outcome all around.”

From Studio 54, my unpublished novel-length, mature, music-centric, late 70’s, P&P inspired romance in the Meryton Reading Room: “When their bodies joined, there was no hurry, just one prolonged, gliding movement until they became one being. They moved gradually together, their eyes focused on each other’s in a tender communion of souls. A barely perceptible acceleration brought them each to the inevitable pinnacle of satisfaction at precisely the same moment. All that was left was to hold each another reverently and feel the comfort of shared love and peaceful understanding.” There are more explicit scenes in the novel, but this one is the example I like to cite for those who prefer to avoid direct descriptions of sexual activity.

There’s a time and a place for both explicit and implied, though. Many romance readers look forward to the intimacy, expect it, and see it as the ultimate expression of the attraction between the couple—and the steamier the better for their future felicity. Other readers prefer not to read the details, however, take care here. Avoiding the topic altogether is tantamount to hiding the truth—it’s no better than telling a lie. Sex happens as part of a healthy young loving relationship, and it’s up to the author to find the essential balance to suit each specific book. For example, if you prefer your unmarried protagonists’ ending to be chaste for the most part, a sexy kiss can still do your story wonders.

Rachel Knowles’ Georgian romance, A Perfect Match, is an inspirational novel with the following: “Her body was responding to the kiss in anything but a sisterly way. If she had been standing, she would surely have fallen. That kiss told her more about the state of her heart than her head had ever done. She had thought herself above temptation. … Whatever his intention had been, that was no ‘brotherly’ kiss.”

I’m sure other authors have opinions to contribute, so please share in the comments! Even the most seasoned writers can be nervous writing these scenes, and I hope this article has eased up writers’ tension at least a little.

Disclaimer: I’m not a writing expert. I’m just a writer who learned some stuff other writers might like to know instead of learning the hard way. My approach is pragmatic, and my posts are not professionally edited!

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LfMM Suzan Lauder’s 100-Word Editing Checklist

I said in an earlier post that I’d share my list of words to search for if you want to un-muddy your writing to help you self-edit. (Lesson #2 and #3 at end of post). This list is a golden gem of mine that started after I read a book called Editor-Proof Your Writing by Don McNair. I’ve used the ideas he suggested in the book and added many of my own to create a list of 100 words to search for to improve your writing.

“100 words?” you ask, “Isn’t that tedious?”

Yes it is. And if you don’t use these words, or get in the habit of it after having searched for the 100 a few times, your writing will shine. It’s worth tedium of a few rounds to get better as a writer. In addition, if you, like may authors, want to shave some word count off your novel, this review can often cut 5% of word count at first. Yes, my writing was 5% muddy before it ever got to an editor!

My over-used words at one point or another: that, look, act, then, such, all, as, about, turned, smile, scowl, however, in fact. What are yours?

But there’s more: I like to pare down adverbs to the minimum by rewording (including considering the adverb as the verb or adjective instead) or cutting, but I don’t believe in removing them totally, as they do have their purpose. A good rule of thumb is an average of no more than one -ly adverb per page of text. Adverbs like really, totally, only, and just can almost always be cut.

There are words I’ve taught myself to limit use, and the top of that list is another adverb: very. Most of the time, this adverb is your story begging for a better adjective. Very small: diminutive. Very old: antiquated. Very pretty: beautiful. Very late: tardy. Very lazy: lackadaisical. You get the idea. Get to be friends with a good thesaurus for better word use.

Some word formations can signal passive tone, such as a verb ending in –ed with to, or some –ing words, or had with another verb. Keep it active.

If you want to be a good POV (point of view) writer in third person deep point of view, you must get rid of “filter” words. More on that in a POV post, but I mention it because it’s on the cheat sheet.

If you’re like me, and write period fiction, you’ll also want to find words that were not in use during the period and exchange them for something more appropriate to the times. For example, the word “high-tech” is from the 1970’s, so you don’t want it in your Second World War story or older. Since I write Regency, I’ll have a post on Regency language later in the series.

How to use the checklist? In MS Word, there’s a function called “Find” on the “Home” tab. Type in the letters of the checklist item, then use the arrows in the pop-up box to go from one to the next. Evaluate each case, and if needed, reword, watching not to get into the rut of using another muddy style. You don’t have to change them all, just the ones that are easy to change. Soon, you’ll recognize your style and which words are never a problem for you.

After using the list a few times, you’re bound to customize the 100-word list for yourself, adding words your beta reader has indicated are over-used and crossing off those you have no issues with. These change from time to time, so be flexible with your checklist.

Suzan Lauder’s 100 word Editing Checklist

The applicable lessons to this post:

Suzan Lauder’s Learn from My Mistakes Lesson #2: Several full author edits are the preferred norm for ensuring quality writing.

 

Suzan Lauder’s Learn from My Mistakes Lesson #3: Keep a checklist of your most common errors and use a “Find” function to clean them up during your later editing process.

I hope a few of you share some words that would be on your list in the comments for this post. Enjoy your self-editing experiences!

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Please note the new widget on the right panel of my blog main page at the bottom. It takes you to my newest story posting for free at AHA, A Most Handsome Gentleman (formerly known as “Hot Collins”). It’s funny!

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The engagement scene in Suzan Lauder’s bestselling Letter from Ramsgate

dsc_0134-2The inspiration for using the Royal Menagerie at Exeter Exchange for the final chapter in Letter from Ramsgate came from my dear friend Maria (defiantfalcon at the Meryton Literary Society’s A Happy Assembly), the plot beta for the story and a zoo fanatic. In fact, Maria’s best meditative, self-indulgent, de-stressing moments come from hauling out a humongous zoom lens at her local zoo. She’s an avid supporter of the Amur Leopard and Tiger Alliance (ALTA), and her photos of the extremely rare Amur leopards at the Audubon Zoo in New Orleans, LA have been used in their promotional material. Though there were no Amur Leopards in the Menagerie at the Exeter Exchange, they had a pair of adult leopards. Based on the artwork by Jacques-Laurent Agasse, they were most likely from Africa or Indonesia. I love this painting, and a scene is based on it!

Click on thumbnail for larger view.

Click on thumbnail for larger view.

The inspiration for other details within the chapter came from reading about the animals of the menagerie, finding the handbills that advertised them, and particularly, from two blog posts.

Click on thumbnail to enlarge photo.

Click on thumbnail to enlarge photo.

Also known as Polito’s Menagerie after its original owner, the Menagerie at Exeter ‘Change was situated in the upper levels of the Exeter Exchange building on the Strand from 1773 to 1829, and housed a “grand assembly of living curiosities” literally from every corner of the globe. Handbills and artwork from the Regency era indicate “majestic” and “noble” lions, “elegant” leopards, a rhinoceros, and “hundreds of other rare and interesting quadrupeds, and birds of the most exquisite plumage, all in fine health and condition, and so perfectly clean and secured, that the most timorous and delicate may approach them without fear or being annoyed.”

rachel-knowles-a-perfect-match-coverRachel Knowles’ article in Regency History: Researching Regency and Late­ Georgian History helped me to imagine the scene better. The author, costumer, and blogger’s Georgian novel, A Perfect Match, was a lovely read. If you like sweet historical romance novels with a subtle Christian back story, you should try this one. She has an upcoming non-fiction release called What Regency Women Did For Us due to be published by Pen & Sword in April 2017 that should prove a valuable resource for historical fiction authors like me.

Click on thumbnail to enlarge.

Click on thumbnail to enlarge.

The second article was about a particularly important resident of the menagerie at the time Elizabeth and Darcy would have visited. Chunee, a “Fine, Large Male Elephant” from India, was the star attraction of the menagerie, as well as a performer at the Covent Garden, and was often paraded in the street outside the menagerie. The coin trick in the engagement scene was described by Lord Byron in 1813: “The elephant took and gave me my money again – took off my hat – opened a door – trunked a whip – and behaved so well, that I wish he was my butler.”

Chunee had a history of violent “paroxysms” likely brought on by inhumane treatment. While in pain with an infected tusk, Chunee became extremely violent, and the methods used in an attempt to calm him were bizarre. A decision was made to put him down, and the difficulties encountered in the attempt to end his life have become one of the most horrifying stories in the history of zoos.

marie-antoinettes-confidante-by-geri-walton-coverThe above and the ability to feel so much for this elephant that I wanted him in my story is thanks to author, blogger, and historian Geri Walton, who blogs about fascinating tidbits of the 18th and 19th century. She’s released a non-fiction book in the UK about the Princesse de Lamballe, the confidante of Marie Antoinette. It will be available in the US in January 2018. Watch for it, because if it’s anything like Geri’s blog, it will be a fun and fascinating approach to history!

The non-historical part of the story is that of the three-toed sloth, Noëlle. Her scene was based on a real life incident witnessed by my beta friend. Because of her helpful photo logs of the animals, defiantfalcon gets behind-the-scenes visits at the Audubon Zoo once in a while, and she got to hold and pet a three toed sloth. She said the fur is the softest she’s ever felt. I’m so jealous!

Thanks to these three women for their generosity in sharing their passion in their own unique ways. Their stories became the basis for one of my favourite scenes in all of my writing.

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vertical-blog-tour-bannerThanks to everyone who followed me around on the blog tour. Thanks so much to each blogger who hosted and each reader who commented. I had a great deal of fun thanks to their willingness to try something a little different, and readers say this has been one of the most fun blog tours they’ve ever seen. Thanks to Rita, Loren, Tina, and Anna for your generous reviews, and thanks to the Meryton Press team for helping me share links. The most special thanks go out to Janet B. Taylor for organizing everything as the blog tour host.

While we were gallivanting around the blogging world with our parasols, readers were voting with their “buy now with one click” fingers, and Letter from Ramsgate enjoyed a short period as a #1 Bestselling Novel in two Amazon categories: Historical Classics and Romance Classics. It also climbed to #8 in Regency Romance. The latter is the big coup, as the competition is fierce from famous authors with dozens of great reviews!

The blog tour may be over, but the giveaway is not. Because we had a problem with Rafflecopter at first, the Letter from Ramsgate blog tour giveaway has been extended to November 3, 2016. If you commented on a post but didn’t get to include it to get your extra entries, now you can enter the name of the blog you commented on. One comment counts per blog site, and only one comment entry per day!

Rafflecopter Link

I’d love comments from readers here on my blog. They won’t count as a blog tour stop, though. Use the other sites for that purpose, and to show those bloggers how helpful they were to my Letter from Ramsgate blog tour.

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How Three Authors Dropped the Ball

“All those positive aspects together in one novel should ensure an enjoyable read that wraps you up in a wonderful fantasy world. Yet sadly, the positives weren’t enough to make up for one simple gap they all had in common.”

ereader free stock imageI’m a reader more than an author, and I’ve learned about writing quality through both. Over the last month or so, I’ve read some excellent novels. Some of these otherwise outstanding stories disappointed me where it could be easily avoided, yet I’m shocked to find my opinion that this is of concern is in the minority.

Three specific novels stand out. They varied from a pleasant romance with mild conflict to an excellent “sweeping epic romance” novel with strong dramatic tension throughout, and another that had a mix of sweetness and angst that put it in the middle of the first two. In each case, the plot moved forward at a brisk pace through the trials the protagonists faced with minor villains and/or misunderstandings towards a satisfying Happily Ever After.

The novels were Pride and Prejudice variations, and compliance with canon characterization for the major characters was strong and consistent. A couple of minor characters were given larger roles and personalities, and new characters enhanced the variations, not unusual for Jane Austen Fan Fiction (JAFF), and well done in each case.

Sounds good so far! Read on…

Some tropes were used in one novel, and a subplot seen in another author’s earlier novel was copied in that same novel, but the other two did a fine job of avoiding them. Quotes from Pride and Prejudice were inserted in key places, although in one novel, they were too long and cliché.

But everyone enjoys a hint of the real Austen, right? Read on…

A range of ability to use of point of view was seen in the books. The sweet romance author did an excellent job of maintaining a standard (not deep or close) third person, multiple point of view, taking care to ensure that POV changed by scene. The other two were less successful, awkwardly using multiple techniques and head-hopping. Obviously the latter authors are less disciplined in good POV techniques.

Ouch. But the novel that escaped head-hopping must be the best one, right? Read on…

Much of the language felt authentic and maintained the mood of the Regency era. The light romance novel was bogged down with long sections of narrative and could have used more dialogue; the others were well-balanced. The authors each used a number of non-period words, but I’ve read far worse by well-known prolific JAFF and Regency romance authors. Most of the common anachronisms included by Regency writers were avoided, and scenes were peppered with little touches of period description that helped move the reader’s imagination into another time.

One made a common mistake: rather than ending when the story arc had been completed, the story line digressed into a new plot direction when it should have been tying up loose ends. That wasn’t enough: an epilogue that had nothing to do with the plot line and was of a different style altogether followed. But the other two novels had perfect endings: no loose ends, the timing was neither abrupt nor dragged out, and the reader was satisfied with the romantic outcome.

Okay, a few flaws, but they still sound like good books, right? Read on…

Stockholm Public LibraryMost authors have at least one weak area in their writing, including those above. Some have continuity or inconsistency problems, so the reader is frequently pulled out of the story to flip back to try to resolve their confusion. Excess elements such as side plots, back story, or redundancy result in boredom. Too many novels have an inadequate premise with minimal conflict and a plot with no complex elements, rushing through predictable circumstances to their happily ever after while rendering the novel forgettable.

These three novels escaped those specific problems. The striking situation here was that even with the weak areas noted, the authors were skilled. Weaknesses were not specific to one novel; rather, each had one or two areas to improve upon but excelled for the most part. The novels each had an interesting, unique premise that was well-executed. Dashes of humour enhanced the dramatic themes, and excitement was felt during situations with physical action. Strong romantic themes supported the story arc. One in particular stood out among JAFF Regency novels for excellent story-telling that took the reader’s imagination away.

For a captivating story line, a reader could overlook one or two flaws, right? Read on…

All those positive aspects together in one novel should ensure an enjoyable read that wraps you up in a wonderful fantasy world. Yet sadly, the positives weren’t enough to make up for one simple gap they all had in common.

A lack of proofreading significantly spoiled the final result of what could have been a decent book.

If I were reviewing these novels for Amazon, a full star would be dropped at minimum for the proofreading errors alone. I’m not being trivial over a few minor typos. Plurals using an apostrophe and incorrect plural possessives, made-up spellings of words, homonyms and homophones used incorrectly, missing letters, missing periods at the end of sentences, and missing quotation marks on one end of a character’s dialogue are examples.

A JAFF author once questioned why I liked working with Meryton Press as opposed to self-publishing, and I listed the benefits I get for free, including editing. Her response?

“No one cares about editing. JAFF readers buy everything released and give top reviews no matter what the quality.”

Sadly, she’s right. Whether enchanting or bland, JAFF novels with poor attention to editing routinely get five-star reviews, even when the reviewer mentions the editing was bad! Review blogs never mention proofreading and ignore blatant mistakes, as they’ve rated these three books almost consistently at 4.5 to five stars. It’s disappointing for those of us who go the extra mile.

Many reviewers make exceptions for self-published books, saying poor editing is expected. That must be a disappointing surprise to 80% of self-published JAFF authors* who make that extra effort to put out quality novels for their fans. Readers shouldn’t reward author-publishers who are lazy or cheap any more than traditional publishers who employ editors who don’t know their craft—it’s not fair to those who care about their readers. I paid for the book. I have a right to expectations.

The errors added up, affecting my overall perception of these otherwise good books. The high-angst novel was one of the most entertaining books I’ve ever read, and though the problems were fewer than the other two, it had confusing head-hopping and enough proofreading errors that it was not just a slight omission. In all three novels, clearly no skilled person did a final check for the author.

red pen and laptop editing free image smallerA smart author won’t stop there. The use of a good general editor (substantial editor, line editor, and/or copy editor) would make these authors look so much more professional. Even those who can manage a good effort at all of the aspects mentioned above will have weak points they don’t see when they read through their work. Another set of eyes, particularly a professional who is experienced at what to watch for, can make an okay novel great.

I have huge appreciation for the beta teams who have assisted me with my unpublished work. Their volunteer, well intentioned, non-professional reviews helped me learn to be a better writer. This is great for JAFF sites such as A Happy Assembly  where members with a huge range of writing skills are encouraged to add to the large number of free stories. But if you charge for the book, you’ll be held to a higher standard.

A beta reader, Aunt Sally, an English major, or a teacher can’t take the place of an experienced professional editor. I’ve read JAFF novels written or edited by these supposed experts that had laughable errors. Professional editors are familiar with typical mistakes, the specifics of genre fiction rules, and lots of good alternatives to improve a novel.

Special smooches go to the Meryton Press editors I’ve worked with: Gail Warner and Christina Boyd. Both are caring, kind, fun women. With their unique talents and styles, each brought my writing to a higher level as professional editors. Ellen Pickels is the lady who covers the a55es for all of us as Meryton Press’s final editor. She serves as proofreader, layout editor and graphics editor! After reading the above mentioned novels, the view that she’s worth her weight in gold has been reinforced! Thanks to them all!

I hope authors who read this will know where they fit, and those who care will improve or continue their best practices and be proud of their dedication to their readers’ satisfaction. I also hope those who don’t care will get their just desserts someday, rather than a reward of five stars when they didn’t even try to respect their readers. Wishful thinking, I know.

 

* My “guesstimate.”

Note: This post has not been professionally edited. If you need a few spare commas, I probably have some to offer!

Next post: The Smart Author Self-Edits: some links to help you improve your craft.

A road trip to Madame Gilflurt’s blog: My guest post on sneaky Regency hands.

I clicked the wrong link. I intended to email the organizer of a Jane Austen ball to tell her about the Thrift Shop Regency Costume Experiment, but I accidentally clicked a link that led me to Madame Gilflurt.

011-Mrs-Robinson-as-Perdita-246x300 as Madame Gilflurt“No problem,” she said, “but would you consider doing a guest post on my blog?”

Of course! I love to hear myself talk, and a busy blog sounded fun. I had an idea for a blog post that came up during my research on Regency gowns, and offered to post it on her blog. She loved the idea. It took a while for me to write the actual text of the post, and by then, Madame Giflurt was in the middle of her own series.

Today, the post is up: The Itch Exposed: A Special Report for the Admirers of Regency and Georgian Fashion. It’s a tongue-in-cheek look at an accidental observation I made while perusing hundreds of Regency gowns in museum pieces, historical paintings, and fashion magazine drawings—the position of some ladies’ hands in drawings from Costume Parisien and other art during the early 1800s. You can read the post at A Covent Garden Gilfllurt’s Guide to Life: Glorious Georgian dispatches from the long 18th century…, Madame Gilflurt’s blog.

La Miroir de la Mode gown from 1803, the inspiration drawing for Suzan Lauder's January 20, 2016 guest post on "A Covent Garden Gilflurt's Guide to Life" blog.

La Miroir de la Mode gown from 1803, the inspiration drawing for Suzan Lauder’s January 20, 2016 guest post on “A Covent Garden Gilflurt’s Guide to Life” blog.

Madame Gilflurt, also known as Catherine Curzon, blogs about the fascinating personalities of history, focused on the 18th Century and Regency periods. Her lively blog includes a number of interesting guest writers each year. She is also the online host for An Evening with Jane Austen, and may just get to see Adrian Lukis’s (Mr. Wickham from the BBC/A&E 1995 production of Pride and Prejudice) phone number come up on her call display from time-to-time. Madame Gilflurt will join road trips with the redhead for a guest post celebrating the release of her non-fiction book Life in the Georgian Court, which is being published by Pen and Sword books in June 2016.

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A reminder to catch up on chapters of Letter from Ramsgate, now posting at A Happy Assembly! We’re past the bad angst and moving towards mush. The comments thread is as much fun as the story!

Graphic art for signature design by L.L. Diamond using an oil painting by Johannes Vermeer: "A Lady Writing."

Graphic art for signature design by L.L. Diamond using an oil painting by Johannes Vermeer: “A Lady Writing.”

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As can be seen on the sidebar of this blog, Then Comes Winter has been selected as a favourite on three top JAFF book blogs! YAY!

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Please comment on this blog (below) at any time, or for today’s guest post, on Madame Gilflurt’s blog!

The Regency Gentleman and his Cravat

The Regency neck-cloth could never be called humble, even if its life begins as a simple strip of cloth. Instead, it’s an embellishment that can add drama and interest to the gentleman’s costume.

tsrce cravatThe cravat, or neck-cloth, was described in the popular post, Regency men were not sissies, even in blouses and scarves, along with the shirt (which was considered an undergarment) and the Regency man’s hat. The post was part of the Thrift Shop Regency Costume Experiment blog series. There, we noted I. E. Scottsdale’s Necklothitania, a satire on the elaborate styles used by Beau Brummel and his followers, and H. LeBlanc’s The Art of Tying a Cravat, as Regency documents that showed some of the many different tie styles possible.

mr suze cravatMy husband, Mr. Suze, used the simplest arrangement when he dressed for October’s JASNA AGM dinner and ball with a 52 inch long neck cloth. Recall that this is on the short side for the cloth, which is 4-10″ wide and 50-100″ long. Elaborate styles tend to require longer fabric.

To accomplish this simple style of cravat tie, the following steps are taken by the gentleman:

  • Fold the centre 12-18″ of the length of the fabric as needed so the width is equal to the length of the man’s neck.
  • Hold this section of the cloth in front of you draw the neck cloth across the front of the neck.
  • Wrap the two halves round the sides of your neck and slide your hands along it to cross over each other at the centre back, then pull the ends forward again.
  • Tug the ends snug around your neck.
  • Tie a simple half knot (one end around the other once) in front to hold in place so it’s comfortable with no gaps. A good test is for size is just snug enough that you can just barely slip two fingers under the top edge.
  • Adjust the fabric all around with gentle folds so it’s neck height at the crossover and has no bunching or drooping along the sides.
  • Straighten the lay of the tied part so the top of the half knot is parallel to the edges of the wrapped cravat, and arrange the ends to the wearer’s preference.
  • Secure the ends in a neat position using a pin of some sort.

Mr. Suze commandeered my “ruby” Swarovski crystal stick pin, which is a bit hard to see because the conference lanyard has messed with the tie ends. The pin looked fantastic. A similar style of tying the cravat, with no ruffles on the shirt front, is seen below.regency cravatI would guess this example uses a longer or wider cloth due to the folds. With a longer cloth, the ends can be tucked as seen for this style, and if very long, the gentleman will start wrapping from behind rather than in front.

For a lovely array of neck cloth tie styles, not just Regency, you can enjoy a video with nearly 10 minutes of styles from movies and mini-series period dramas: The Cravat in Period Drama. The handsome actors will please you as well as the costumes!

Please check out the link, as I guarantee it’s well done and striking.

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A reminder that my latest Austen-inspired Regency story, Letter from Ramsgate #XPressLetter, is posting at #AHA (free, no ads), with a new chapter each Wednesday afternoon.

Soon, posting frequency will doubled! The second day each week will be either Monday or Saturday, whichever has the least other stories posting. Readers can elect to follow the topic on the upper right-hand corner of the story page, which sets up an automatic email for each new chapter, saving the trouble of remembering the schedule or watching and waiting for each post. This story is rated PG for implied off-screen sexual situations.

LfR has no violence, but it does have some chapters with extra dramatic tension.

The comments thread can be just as interesting as the story, so join in the fun reader reactions as our protagonists misunderstand each other, aided by well-meaning characters as well as slightly shady ones.

Graphic art for signature design by L.L. Diamond using an oil painting by Johannes Vermeer: "A Lady Writing."

Graphic art for signature design by L.L. Diamond using an oil painting by Johannes Vermeer: “A Lady Writing.”

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Feedback on this post will be appreciated as well, so let me know how you feel about men in cravats by replying below!