By Anna Kathryn Lanier
I finally attended college in my 40’s, graduating in 2008 with an associate of arts in history and teaching. For my art appreciation class, I took Dance Appreciation. I loved it. Though we learned about the history of dance, we didn’t have to actually dance. Which was good for me, because my arms and legs are not always coordinated. We did have to write a paper on a dance. I chose to write on the first dance scene between Mr. Darcy and Elizabeth Bennett from “Pride and Prejudice,” the Colin Firth version. Here’s my paper (which received an A):
I choose a dance from the 1995 A & E version of Jane Austen’s book “Pride and Prejudice,” starring Colin Firth as Fitzwilliam Darcy and Jennifer Ehle as Elizabeth Bennett. Mr. Darcy is a wealthy land owner, who is very reserved. Elizabeth is the second of five daughters of a not-so-wealthy country gentleman, “whose spirited wit and good sense keep her away from folly—most of the time,” according to the DVD’s back blurb. Upon their first meeting, at a soirée, Mr. Darcy makes it known, through his behavior, that he does not dance. However, after observing Elizabeth over several weeks, he decides to dance with her at the Netherfield ball, after she’s claimed to a friend she would never dance with him.
“The dance chosen for this scene is a duple minor longways dance first published by John Playford's son, Henry Playford, in his 1695 Dancing Master. Although neither this particular dance nor the duple minor formation it is in were being used in Jane Austen's day, the dance is a very 'cinegenic' dance,” says Aylwen Garden on earthlydelights.com. Additional research on the English Folk Dance and Song Society website reveals that Cecil Sharp is one of many responsible for the preservation of not only this particular dance, but several other folk dances. However, “the Cecil Sharp version…has a longer B part dance sequence,” according to Garden. She suspects the “change from the original dance was probably inspired by the need for a more dramatic face-to-face beginning…for a 'battle' between the two protagonists.” The dance offers “a lovely, camera-confronting, film-effective, 4-in-line (with Darcy and Elizabeth 'trapped' side-by-side in the middle) up and back figure,” Garden explains.
When the dance starts the couples, ten in all, stand opposite each other, women in one line, men in another, about five feet apart and bow or curtsy to each other. Couples meet in the middle, circle, then back away. They then circle the couple next to them, meet again in the middle, then join a line with another couple, four people in all—female, male, female and male—step forward once, then back once, repeating twice. They then start the circling again. The description of the dance given on earthlydelights.com is:
A1 The 1. Man cross over and go back to back with the 2. Wo. Then the 1 wo. Cross over and go back to back with the 2. Man at the same time (in short, 1s cross r.sh. to other side- possibly giving r.hs momentarily, then after a bow to 2s below, do-si-do-ing with 2s below)
A2 Then meet and turn S. over r.sh. with 6 steps (2 bars) then 1 man turn the 2. Wo. with his right hand, and 1. Wo. turn the 2. Man with her right hand at the same time in 12 steps (4 bars), then 1. Cu. take left hands and turn into their own places with 6 steps (2 bars)
B The 1 cu cross over into the 2 cu. place by pulling on l.h., passing l.sh. and casting down on opposite side while 2s meet partner and lead up, and go back to back with their Partner while 2s cast out with 6 steps onto outside end, then all four lead up hands abrest with 2 steps and a rise, then back with 2 steps and a rise, then 1M and W cross (W in front) as they lead up and go the partial Figure through; and cast off into the 2 cu. place while 2s meet partner again and lead up.
The choreographer, Jane Gibson, used the element of space quite well for this dance. With a large ball room at her disposal, Gibson utilizes an area of about twenty feet by six feet as the couples move down the line, then back up again. The dance lasts over five minutes, giving Elizabeth time to draw Mr. Darcy into a conversation.
The music accompaniment, Mr. Beveridge's Maggot, is performed by a group of 8-10 musicians on a platform to one side of the ballroom. The musicians play violins, piano, clarinets, bass, and flutes.
The costumes are of typical Regency period. The men wear breeches, stockings, vests, coats, shirts with ruffled cuffs and fronts (Mr. Darcy doesn’t wear ruffles, as he is more reserved in both manner and dress) and a neckcloth intricately tied. There are also several men dressed in military uniforms of white breeches, and stockings and the familiar red coat with black and gold trim. The women wear romantic and Grecian styles dresses. Their hair is swept up in buns and dos, with feathers, flowers, beads or jewels for adornment. The women also wear arm-length gloves, which cover any exposed skin.
The point behind the dance is two-fold. Mr. Darcy, who proclaims more than once that he does not dance, is attracted to Elizabeth and, though he’ll never admit it, is jealous of the fact she’s dancing with other men. Elizabeth like-wise declares to never dance with the infuriating Mr. Darcy. However, when he approaches her for the dance, she can think of no excuse to refuse him.
Elizabeth has heard some disturbing news about Mr. Darcy, which seems counter to his character and during the dance she tries to draw him into conversation in an effort to discern the truth. The length of the dance allows her time to speak with him, even if the conversation is interrupted by the separations caused by the steps.
The other incident that occurs during the dance is when one of her neighbors congratulates them on their wonderful dancing. Unfortunately, he also brings to Mr. Darcy’s attention the fact that the local people expect a wedding announcement soon between Mr. Darcy’s good friend Mr. Bingley and Elizabeth’s sister Jane. This sets into motion a chain of events that cause great heartache for several people, not the least of whom are Jane and Mr. Bingley.
When the dance ends, Mr. Darcy leads Jane off the dance floor, but she is just as confused as she was at the beginning of the dance because the dastardly deed she thinks he has done is not discussed and therefore, the air is not cleared.
Works Cited
Garden, Aylwen. Dances From Pride and Prejudice. Earthly Delights website. www.earthlydelights.com.au/english3.htm. (6-25-07).
Pride and Prejudice. 1995
Regency Dress, Pride & Prejudice 1800s Gown, Napoleonic. E-bay website. http://reviews.ebay.com/Regency-Dress-Pride-amp-Prejudice-1800s-Gown-Napoleonic_W0QQugidZ10000000000085139. (6-26-07)
This article first appeared on my blog, Chatting with Anna Kathryn, on July 18, 2008.
Thursday, May 19, 2011
Sunday, May 15, 2011
Writing a Historical Inspirational
A friend who sold by turning a historical into an inspirational kept suggesting I give that a try. We’re often advised not to write to market trends...to write the books of our hearts. On the other hand, the inspirational market has been growing. For example, Love Inspired Historicals recently went from two to four books a month.
I was used to writing single title romance, where basically the only rules are appropriate word count and a happily ever after ending. Among other things, inspirational romance means no on the page sex, even if the characters are married. While publishers’ guidelines vary, Love Inspired Historicals, for example, doesn’t want any paranormal elements, and says “Christian characters in the stories may not consume alcohol, play cards or gamble.”
Finally I sat down with one of my medievals. I excised scenes involving sex and other topics I’d learned inspirational publishers might not be interested in, ignoring the pain and sense of loss at deleting so many hard won words.
Doing so left room for adding the required faith journeys for the hero and heroine. I was surprised to find I already had a few religious tidbits. For example, King Henry IV was conservative and very devout, to the extent that he didn’t like women to wear bright or revealing clothes in his presence. I’d used that to show how my heroine didn’t fit in at court. Supposedly he’s quoted as saying, “Be good lads, meek and docile, and attend to your religion."
How could I use religion and faith to heighten the plot and conflicts I already had, including that he served the king while she supported the king’s rival? I looked at the hero’s and heroine’s current arcs for places where the dictates of religion and believing or not would pull the characters further apart.
I researched and thought about religious issues in my specific time period, which turned out to be another way to incorporate the setting. Fortunately the Church and changes within it were a huge influence in late medieval England.
At first I worried that I was trying to fit a square peg into a round hole. But then I realized the manuscript was a puzzle, and inserting faith was like fitting missing pieces together. It didn’t take long to see who’d be a person of faith and who would have lost belief and why, or to make a variety of religious elements mesh with my story. I’d like to think adding these new elements heightened the emotional intensity. Finally, I changed the title to AT HIS COMMAND, which in this case can either mean the king’s or God’s.
I asked three published inspirational author friends to send me a synopsis, then had two of them review mine. But the first readers were judges in RWA®’s 2011 Golden Heart® contest. You can imagine my joy when I got the call that AT HIS COMMAND is a finalist.
If you’re considering writing a historical inspirational or adding faith elements to an existing manuscript, here are some questions to consider:
--what religious events/beliefs/trends existed in your time period of choice?
--will they make sense in your story, or does adding a faith element feel forced?
--how can you use faith to strengthen plot, conflict and your characters’ arcs?
--how will you resolve faith issues in a believable, satisfying manner?
I was used to writing single title romance, where basically the only rules are appropriate word count and a happily ever after ending. Among other things, inspirational romance means no on the page sex, even if the characters are married. While publishers’ guidelines vary, Love Inspired Historicals, for example, doesn’t want any paranormal elements, and says “Christian characters in the stories may not consume alcohol, play cards or gamble.”
Finally I sat down with one of my medievals. I excised scenes involving sex and other topics I’d learned inspirational publishers might not be interested in, ignoring the pain and sense of loss at deleting so many hard won words.
Doing so left room for adding the required faith journeys for the hero and heroine. I was surprised to find I already had a few religious tidbits. For example, King Henry IV was conservative and very devout, to the extent that he didn’t like women to wear bright or revealing clothes in his presence. I’d used that to show how my heroine didn’t fit in at court. Supposedly he’s quoted as saying, “Be good lads, meek and docile, and attend to your religion."
How could I use religion and faith to heighten the plot and conflicts I already had, including that he served the king while she supported the king’s rival? I looked at the hero’s and heroine’s current arcs for places where the dictates of religion and believing or not would pull the characters further apart.
I researched and thought about religious issues in my specific time period, which turned out to be another way to incorporate the setting. Fortunately the Church and changes within it were a huge influence in late medieval England.
At first I worried that I was trying to fit a square peg into a round hole. But then I realized the manuscript was a puzzle, and inserting faith was like fitting missing pieces together. It didn’t take long to see who’d be a person of faith and who would have lost belief and why, or to make a variety of religious elements mesh with my story. I’d like to think adding these new elements heightened the emotional intensity. Finally, I changed the title to AT HIS COMMAND, which in this case can either mean the king’s or God’s.
I asked three published inspirational author friends to send me a synopsis, then had two of them review mine. But the first readers were judges in RWA®’s 2011 Golden Heart® contest. You can imagine my joy when I got the call that AT HIS COMMAND is a finalist.
If you’re considering writing a historical inspirational or adding faith elements to an existing manuscript, here are some questions to consider:
--what religious events/beliefs/trends existed in your time period of choice?
--will they make sense in your story, or does adding a faith element feel forced?
--how can you use faith to strengthen plot, conflict and your characters’ arcs?
--how will you resolve faith issues in a believable, satisfying manner?
Hearts Through History Campus - May Workshops
Class: Picts and Scots 400-1100
Instructor: Sharron Gunn
Dates: May 2-June13, 2011
Registration Deadline: May 1,2011
Fee: $15/HHRW members, $25/others
Click HERE for Registration Form
FMI: HHRW Campus Coordinator: classes@heartsthroughhistory.com
Class Description:
Because the era after the fall of the Roman Empire seems so long ago, people think that very little can be known about the peoples of northern Europe. You will be surprised at what is known from archaeological records, place name evidence, saints' lives, king lists, and annals, and so on. Yes, there are gaps. It's not like writing a novel set during the Regency Period. But that's a good thing. Your imagination can kick in!
So here is a bit of what you'll learn. The Scots were a Gaelic-speaking people who came from Ireland during the Iron Age. The Gaelic kingdom of Dál Riata extended from the north of Ireland to the southwest of Scotland; the centre of kingship shifted about AD 500 from Ireland to Scotland. Christianity came to Scotland during this period and many clergy left Ireland to found churches in Scotland.
The Picts spoke a British language (very similar to Welsh). Myths about the Picts say they also spoke a language unrelated to most other languages in Europe and that inheritance was matrilinial (through the mother). We'll look at those ideas. The Picts and Scots, Celtic peoples, believed in the religion of the Druids. In the 9th century the Picts and Scots merged to form the Kingdom of Alba, to meet the Norse threat. Picts, Scots and Norse all in one course! What more could you ask for?
5 Lectures with self quizzes, simple research projects and story ideas. Questions and discussion encouraged, but lurkers also welcome.
Bio:
Sharron Gunn learned to read and write Scottish Gaelic at Xavier College (now UCB) in Nova Scotia, and later obtained an honours degree in Scottish History and Celtic Studies from the University of Glasgow. While a student, she had a job selling Gaelic books in the Highlands from which she gained a greater knowledge of the geography and people. A requirement for the job was fluency in Gaelic, the language of the Highlands and Islands. She often returns to Scotland. Several times she has travelled to the Royal National Mòd, a huge music festival, as a member of a Gaelic choir from Canada. She is busy writing a fantasy novel set in WWII.
Format: Course is conducted via Yahoo Groups email with lessons and Q&A
For additional information, contact the Campus Coordinator.
Click HERE to register for this class.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Crafting the Sensual Novella
Instructor: Eliza Knight
Dates: May 2, 2011 -- May 13, 2011
Registration Deadline: May 1, 2011
Fee: $10/HHRW members, $20/others
Click HERE for Registration Form
FMI: HHRW Campus Coordinator: classes@heartsthroughhistory.com
Class Description:
Have you ever wanted to try your hand at writing a sexy novella? Are you worried you won't be able to write short? Do love scenes intimidate you? Worry no more! It's time to learn the craft of novella writing. Creating a sensual short story can be fun and profitable.
And there has never been a better time to write short. With so many new and established publishers hungry for novellas, the market is wide open--if you know how to catch an editor's attention.
Sensual novellas are about much more than sex. And the guidelines are different than for a traditional-length novel. This workshop will help you learn how to plot a novella whether you are a heavy outliner or a "pantser." You'll see how easy it is to layer emotion into your love scenes and hook the reader from the very first sentence. The class will also instruct you on how to pack more into less words, while still keeping your love story strong and your audience captivated. We'll even include a sensual and sensory word reference list as a bonus!
Are you ready to take readers on a swift, sensual, and emotionally riveting journey?
Note: This workshop includes handouts as well as suggested reading, and will include excerpts from the presenters' and other authors' novellas.
Bio:
Eliza Knight is the multi-published author of sizzling historical romance and erotic romance. While not reading, writing or researching for her latest book, she chases after her three children. In her spare time (if there is such a thing...) she likes daydreaming, wine-tasting, traveling, hiking, staring at the stars, watching movies, shopping and visiting with family and friends. She lives atop a small mountain, and enjoys cold winter nights when she can curl up in front of a roaring fire with her own knight in shining armor. Visit Eliza at www.elizaknight.com.
Format: Course is conducted via Yahoo Groups email with lessons and Q&A
For additional information, contact the Campus Coordinator.
Click HERE to register for this class.
Instructor: Sharron Gunn
Dates: May 2-June13, 2011
Registration Deadline: May 1,2011
Fee: $15/HHRW members, $25/others
Click HERE for Registration Form
FMI: HHRW Campus Coordinator: classes@heartsthroughhistory.com
Class Description:
Because the era after the fall of the Roman Empire seems so long ago, people think that very little can be known about the peoples of northern Europe. You will be surprised at what is known from archaeological records, place name evidence, saints' lives, king lists, and annals, and so on. Yes, there are gaps. It's not like writing a novel set during the Regency Period. But that's a good thing. Your imagination can kick in!
So here is a bit of what you'll learn. The Scots were a Gaelic-speaking people who came from Ireland during the Iron Age. The Gaelic kingdom of Dál Riata extended from the north of Ireland to the southwest of Scotland; the centre of kingship shifted about AD 500 from Ireland to Scotland. Christianity came to Scotland during this period and many clergy left Ireland to found churches in Scotland.
The Picts spoke a British language (very similar to Welsh). Myths about the Picts say they also spoke a language unrelated to most other languages in Europe and that inheritance was matrilinial (through the mother). We'll look at those ideas. The Picts and Scots, Celtic peoples, believed in the religion of the Druids. In the 9th century the Picts and Scots merged to form the Kingdom of Alba, to meet the Norse threat. Picts, Scots and Norse all in one course! What more could you ask for?
5 Lectures with self quizzes, simple research projects and story ideas. Questions and discussion encouraged, but lurkers also welcome.
Bio:
Sharron Gunn learned to read and write Scottish Gaelic at Xavier College (now UCB) in Nova Scotia, and later obtained an honours degree in Scottish History and Celtic Studies from the University of Glasgow. While a student, she had a job selling Gaelic books in the Highlands from which she gained a greater knowledge of the geography and people. A requirement for the job was fluency in Gaelic, the language of the Highlands and Islands. She often returns to Scotland. Several times she has travelled to the Royal National Mòd, a huge music festival, as a member of a Gaelic choir from Canada. She is busy writing a fantasy novel set in WWII.
Format: Course is conducted via Yahoo Groups email with lessons and Q&A
For additional information, contact the Campus Coordinator.
Click HERE to register for this class.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Crafting the Sensual Novella
Instructor: Eliza Knight
Dates: May 2, 2011 -- May 13, 2011
Registration Deadline: May 1, 2011
Fee: $10/HHRW members, $20/others
Click HERE for Registration Form
FMI: HHRW Campus Coordinator: classes@heartsthroughhistory.com
Class Description:
Have you ever wanted to try your hand at writing a sexy novella? Are you worried you won't be able to write short? Do love scenes intimidate you? Worry no more! It's time to learn the craft of novella writing. Creating a sensual short story can be fun and profitable.
And there has never been a better time to write short. With so many new and established publishers hungry for novellas, the market is wide open--if you know how to catch an editor's attention.
Sensual novellas are about much more than sex. And the guidelines are different than for a traditional-length novel. This workshop will help you learn how to plot a novella whether you are a heavy outliner or a "pantser." You'll see how easy it is to layer emotion into your love scenes and hook the reader from the very first sentence. The class will also instruct you on how to pack more into less words, while still keeping your love story strong and your audience captivated. We'll even include a sensual and sensory word reference list as a bonus!
Are you ready to take readers on a swift, sensual, and emotionally riveting journey?
Note: This workshop includes handouts as well as suggested reading, and will include excerpts from the presenters' and other authors' novellas.
Bio:
Eliza Knight is the multi-published author of sizzling historical romance and erotic romance. While not reading, writing or researching for her latest book, she chases after her three children. In her spare time (if there is such a thing...) she likes daydreaming, wine-tasting, traveling, hiking, staring at the stars, watching movies, shopping and visiting with family and friends. She lives atop a small mountain, and enjoys cold winter nights when she can curl up in front of a roaring fire with her own knight in shining armor. Visit Eliza at www.elizaknight.com.
Format: Course is conducted via Yahoo Groups email with lessons and Q&A
For additional information, contact the Campus Coordinator.
Click HERE to register for this class.
Friday, May 13, 2011
Why and How to Contest
Why and How to Contest©
Some contests only allow unpublished authors. Some contests allow published authors if they haven’t published in a number of years, usually three to five. Some contests allow published authors enter only ms. in sub-genera in which they weren’t previously published. Some contests allow on ms. that haven’t been entered previously.
1) Sulk for one day and eat two chocolate bars.
2) Write.
3) A week or so later, get out the comment and read them over again.
See if maybe there are some comments that will help you better your ms. After all, you paid money for their opinion.
Why:
If you read your RWR every month, you know there are a lot of contest out there. But before you enter a contest, you might want to think about what you’ll get out of the experience.
If you have a manuscript or synopsis that you’ve gone over and over (along with your critique group), it’s a good idea to get ‘fresh eyes’ to look at it. Here’s where a contest can help. Make sure you choose a contest that will give you written feed back from multiple judges. Today most contests will have a copy of the judging sheet in advance so you can see what type of comments to expect. Read the score sheet. Carefully.
If you read your RWR every month, you know there are a lot of contest out there. But before you enter a contest, you might want to think about what you’ll get out of the experience.
If you have a manuscript or synopsis that you’ve gone over and over (along with your critique group), it’s a good idea to get ‘fresh eyes’ to look at it. Here’s where a contest can help. Make sure you choose a contest that will give you written feed back from multiple judges. Today most contests will have a copy of the judging sheet in advance so you can see what type of comments to expect. Read the score sheet. Carefully.
Some contests only allow unpublished authors. Some contests allow published authors if they haven’t published in a number of years, usually three to five. Some contests allow published authors enter only ms. in sub-genera in which they weren’t previously published. Some contests allow on ms. that haven’t been entered previously.
So be sure to check and double check all the rules and regulations of the contest.
Choose a contest that has a category for your type ms. Check the entry form and rules for every contest that seems likely, then choose the best contest for your needs.
The contest’s ‘fresh eyes’ can find holes in your story that you (or your critique group) might overlook because you are so familiar with the work. If money is no object, you might try out two different opening/hooks to see if one was better received.
Choose a contest that has a category for your type ms. Check the entry form and rules for every contest that seems likely, then choose the best contest for your needs.
The contest’s ‘fresh eyes’ can find holes in your story that you (or your critique group) might overlook because you are so familiar with the work. If money is no object, you might try out two different opening/hooks to see if one was better received.
I really like synopsis contests, as they generally cost lest money and are shorter. I found this to be a great help with synopsis, as it can help you decide what information to cut (if too long) or punch up the motivation that you know, but the reader didn’t see in the synopsis. I always wanted to make sure my story would hang together before I spent my time and effort to write the complete ms.
If you think your manuscript is pretty good and you have a good chance to win, enter it in a contest where the top judges are editors of the line you are targeting. Just finaling in such a contest gets your ms. to the editor. Then when you write your thank you notes, you can ask if they’d like to see the ms. And even if they don’t buy it, when you thank them for looking, ask if they want to see something else. If they aren't buying now, they will in the future, and they've seen your name and your work. You can always query later.
If you win or place in a national contest, then be sure to mention it in your cover letter to editors and agents.
If you’re already published, there are now plenty of contest for published works.
If your previously published work placed/won in a contest, this might look good if you want to ask for a larger advance, are trying to change lines or houses. And again, if nothing else, placing or winning shows the quality of your work.
How:
Choose a contest that suits your needs. Send for the entry form and rules. Read the rules carefully. Read them again. Make sure you enter your ms. in the correct category.
Check the scores sheet and make any adjustments in your ms. Let me repeat that, check the score sheet and make any adjustment in your ms. If there are scores for the hero, and in your 25 page submission, the hero appears on page 20 -- you're probably not going to get max points for the hero.
If you think your manuscript is pretty good and you have a good chance to win, enter it in a contest where the top judges are editors of the line you are targeting. Just finaling in such a contest gets your ms. to the editor. Then when you write your thank you notes, you can ask if they’d like to see the ms. And even if they don’t buy it, when you thank them for looking, ask if they want to see something else. If they aren't buying now, they will in the future, and they've seen your name and your work. You can always query later.
If you win or place in a national contest, then be sure to mention it in your cover letter to editors and agents.
If you’re already published, there are now plenty of contest for published works.
If your previously published work placed/won in a contest, this might look good if you want to ask for a larger advance, are trying to change lines or houses. And again, if nothing else, placing or winning shows the quality of your work.
How:
Choose a contest that suits your needs. Send for the entry form and rules. Read the rules carefully. Read them again. Make sure you enter your ms. in the correct category.
Check the scores sheet and make any adjustments in your ms. Let me repeat that, check the score sheet and make any adjustment in your ms. If there are scores for the hero, and in your 25 page submission, the hero appears on page 20 -- you're probably not going to get max points for the hero.
For example, in my ms. which has finaled in several contests, I cut out the paragraphs where the Hero finds a cat in the barn - this is important as it foreshadowing and the cat plays in important part later -- however, by cutting this section from the contest entry, it allowed me to fit more page time between the Hero and Heroine in the contest page count.
Make sure you send exactly the material requested, and with the proper postage/envelope for return. And many contest today are on-line, so there is no postage. If it’s an on-line contest, make sure you send your entry to the correct address/category coordinator.
When you get your entry back, be sure to write thank you notes to the judges and contest coordinator. It’s a lot of work, and they deserve your ‘thank you’. You can address you thank you to Judge #whatever and send it to the contest coordinator to be forwarded. Don’t forget the contest coordinator, they deserve a big thank you.
Make sure you send exactly the material requested, and with the proper postage/envelope for return. And many contest today are on-line, so there is no postage. If it’s an on-line contest, make sure you send your entry to the correct address/category coordinator.
When you get your entry back, be sure to write thank you notes to the judges and contest coordinator. It’s a lot of work, and they deserve your ‘thank you’. You can address you thank you to Judge #whatever and send it to the contest coordinator to be forwarded. Don’t forget the contest coordinator, they deserve a big thank you.
In your thank you note, be sure to mention the title of your entry, so the judge/coordinator can know who said thanks.
Read over all the judges’s comments. Read them again. Did they point out the same problem/areas of concern?
If they liked your ms. - then celebrate. It’s always nice to hear good things about your writing.
If you got negative comments - put them away and do the following steps:
Read over all the judges’s comments. Read them again. Did they point out the same problem/areas of concern?
If they liked your ms. - then celebrate. It’s always nice to hear good things about your writing.
If you got negative comments - put them away and do the following steps:
1) Sulk for one day and eat two chocolate bars.
2) Write.
3) A week or so later, get out the comment and read them over again.
See if maybe there are some comments that will help you better your ms. After all, you paid money for their opinion.
I once got back a score of 168 and 68 from two judges, but their comments were almost identical. But that's the way it goes.
My ms. that became Kentucky Green won a contest for unpublished ms. And later in a contest for published books, finaled in Best Historical and Best First Book - winning Best First Book. So contests can be a big help in your writing.
Remember, contest judges are subjective – but then so are agents and editors. This is worth repeating - Remember, contest judges are subjective - but then so are the agents and editors.
Take any comments you think will help your writing and ignore the rest.
Good luck and keep writing.
Remember, contest judges are subjective – but then so are agents and editors. This is worth repeating - Remember, contest judges are subjective - but then so are the agents and editors.
Take any comments you think will help your writing and ignore the rest.
Good luck and keep writing.
Sunday, May 8, 2011
The Irish Invade Canada!
No, it's not a belated St. Patrick's Day parade, or even a ceilidh given by a local branch of the Irish Society. The Fenian invasion of Canada actually happened, and it was one factor that contributed to the Confederation of Canada in 1867.
The famine of the min-Nineteenth Century decimated the population of Ireland. Many fled to America, where anti-English sentiments (and Fenian beliefs) ran high. The Fenians believed that English might be turned away from Ireland if one of their colonies was threatened. So, in 1865, they threatened to invade Canada, then known as "British North America." The threats were taken seriously on both sides of the border, where troops were massed and ready for action.
In April of 1866, a group of Fenians gathered at Campobello Island, New Brunswick, but withdrew in the face of the Canadian Militia, British warships, and American authorities. A month later, about 800 Fenians crossed the Niagara River into Canada, occupying Fort Erie and cutting telegraph lines. The Buffalo and Lake Huron railroads were also severed before the Fenians proceeded inland. Again, the Canadian Militia countered the attack.
In June, the Fenians drove the Canadians back at Ridgeway, Ontario, and suffered many casualties. At Fort Erie, they took on another Canadian Militia and forced them back. The main Canadian forces entered Fort Erie, but the Fenians had already escaped back across the border to the U.S., where they were given a hero's welcome. Later that same month, about 1000 Fenians crossed the Canadian border and occupied Pigeon Hill in Missisquoi County, Quebec. They plundered St. Armand and Frelighsburg, but retreated to the U.S. when the American authorities seized their supplies at St. Alban's.
Thus ended the Fenian invasion of Canada.
Although the raids failed to end British rule in North America or Ireland, they did have serious historical consequences. Canadian nationalism was promoted by the raids, and the fear of American invasion united Upper and Lower Canada in common defense. A few months later, the the provinces came together under the British North America Act of 1867 (also known as Canadian Confederation).
In my new Irish-set historical romance novel, Coming Home, the Fenian invasion plays a minor part in my hero, Cavan Callaghan's effort to convince his friend that another Irish war with the British will not succeed. It's a minor plot point, but I think it makes the story that much more relevant.
Of course Cavan had heard of the Fenians, a loosely organized group of Irishmen dedicated to freeing Ireland from British rule.There'd been plenty of Irishmen in New York who'd spouted such ideas. They'd even attempted to invade Canada, planning to hold the country in ransom for Ireland's freedom, but had been thwarted by the union of Upper and Lower Canada just this year.
Was Brian McDevitt a Fenian?
The union of Upper and Lower Canada may have destroyed that country's usefulness as "ransom," but the cause of Irish freedom lived on.
Buy Coming Home at Amazon
Buy Coming Home at Barnes & Noble
The famine of the min-Nineteenth Century decimated the population of Ireland. Many fled to America, where anti-English sentiments (and Fenian beliefs) ran high. The Fenians believed that English might be turned away from Ireland if one of their colonies was threatened. So, in 1865, they threatened to invade Canada, then known as "British North America." The threats were taken seriously on both sides of the border, where troops were massed and ready for action.
In April of 1866, a group of Fenians gathered at Campobello Island, New Brunswick, but withdrew in the face of the Canadian Militia, British warships, and American authorities. A month later, about 800 Fenians crossed the Niagara River into Canada, occupying Fort Erie and cutting telegraph lines. The Buffalo and Lake Huron railroads were also severed before the Fenians proceeded inland. Again, the Canadian Militia countered the attack.
In June, the Fenians drove the Canadians back at Ridgeway, Ontario, and suffered many casualties. At Fort Erie, they took on another Canadian Militia and forced them back. The main Canadian forces entered Fort Erie, but the Fenians had already escaped back across the border to the U.S., where they were given a hero's welcome. Later that same month, about 1000 Fenians crossed the Canadian border and occupied Pigeon Hill in Missisquoi County, Quebec. They plundered St. Armand and Frelighsburg, but retreated to the U.S. when the American authorities seized their supplies at St. Alban's.
Thus ended the Fenian invasion of Canada.
Although the raids failed to end British rule in North America or Ireland, they did have serious historical consequences. Canadian nationalism was promoted by the raids, and the fear of American invasion united Upper and Lower Canada in common defense. A few months later, the the provinces came together under the British North America Act of 1867 (also known as Canadian Confederation).
In my new Irish-set historical romance novel, Coming Home, the Fenian invasion plays a minor part in my hero, Cavan Callaghan's effort to convince his friend that another Irish war with the British will not succeed. It's a minor plot point, but I think it makes the story that much more relevant.
Of course Cavan had heard of the Fenians, a loosely organized group of Irishmen dedicated to freeing Ireland from British rule.There'd been plenty of Irishmen in New York who'd spouted such ideas. They'd even attempted to invade Canada, planning to hold the country in ransom for Ireland's freedom, but had been thwarted by the union of Upper and Lower Canada just this year.
Was Brian McDevitt a Fenian?
The union of Upper and Lower Canada may have destroyed that country's usefulness as "ransom," but the cause of Irish freedom lived on.
Buy Coming Home at Amazon
Buy Coming Home at Barnes & Noble
Saturday, May 7, 2011
DON'T BE A TYPHOID MARY!
We've all been there, sitting in a public place when someone nearby coughs like the last gasps of a three-pack-a-day smoker. We wonder, is that contagious? Or we come down with a stomach virus after eating at our favorite restaurant. Could the server or cook have been ill? Believing I had allergies and a sinus infection, I just spread my bugs to my family and and elderly friend. Yikes! Surely none of us wants to be a "Typhoid Mary" to others.
What about the real person, though? Mary Mallon was born in Ireland to to a mother who'd had typoid fever while pregnant with Mary. Because Mary was the first healthy carrier of pathogens associated with typhoid fever, she has become infamous and synonymous with those who carelessly spread disease.
Born in 1869 in County Cork, Ireland, Mary immigrated to the United States in 1884. From 1900 to 1907 she worked as a cook in the New York City area.
In 1900, she had been working in a house in Mamaroneck, New York, for under two weeks when the residents developed typhoid fever. She moved to Manhattan in 1901, and members of the family for whom she worked developed fevers and diarrhea and the laundress died. She then went to work for a lawyer until seven of the eight household members developed typhoid; Mary spent months helping to care for the people she made sick, but her care further spread the disease through the household. In 1906, she took a position in Oyster Bay, Long Island. Within two weeks, six of eleven family members were hospitalized with typhoid. She changed employment again, and similar occurrences happened in three more households.
When typhoid researcher George Soper approached Mallon about her possible role spreading typhoid, she adamantly rejected his request for urine and stool samples. Soper left and later published the report in June, 1907, in the Journal of the American Medical Association. On his next contact with her, he brought a doctor with him, but was turned away again.
Mallon's denials that she was a carrier were based in part on the diagnosis of a reputable chemist who had found her to not harbor the bacteria, so perhaps she is not entirely to blame for her doubts. Moreover, when Soper first told her she was a carrier, the concept of a healthy carrier of a pathogen was not commonly known. Further, class prejudice and prejudice towards the Irish were strong in the period, as was the belief that slum-dwelling immigrants were a major cause of epidemics.
During a later encounter in the hospital, Soper told Mary that he would write a book about her and give her all the royalties; she angrily rejected his proposal and locked herself in the bathroom until he left.
The New York City Health Department sent Dr. Sara Josephine Baker to talk to Mary, but "by that time she was convinced that the law was only persecuting her when she had done nothing wrong." A few days later, Baker arrived at Mary's workplace with several police officers who took her into custody. The New York City health inspector determined her to be a carrier. Under sections 1169 and 1170 of the Greater New York Charter, Mallon was held in isolation for three years at a clinic located on North Brother Island.
It is believed that individuals can develop typhoid fever after ingesting food or water contaminated during handling by a human carrier. The human carrier is usually a healthy person who has survived a previous episode of typhoid fever yet who continues to shed the associated bacteria, Salmonella typhi, in feces and urine. It takes vigorous scrubbing and thorough disinfection with soap and hot water to remove the bacteria from the hands.
Eventually, the New York State Commissioner of Health, Eugene H. Porter, M.D., decided that disease carriers would no longer be held in isolation. Mallon could be freed if she agreed to abandon working as a cook and to take reasonable steps to prevent transmitting typhoid to others. On February 19, 1910, Mallon agreed that she "was prepared to change her occupation of cook, and would give assurance by affidavit that she would upon her release take such hygienic precautions as would protect those with whom she came in contact, from infection". She was released from quarantine and returned to the mainland.
She had been given a job as a laundress, which paid lower wages, however. Mallon adopted the pseudonym Mary Brown, returned to her previous occupation as a cook, and in 1915 was believed to have infected 25 people, resulting in one death, while working as a cook at New York's Sloane Hospital for Women. This time I have no sympathy for her. Knowing she could infect others, she worked in a hospital! Public-health authorities again found and arrested Mallon, and returned her to quarantine on the island on March 27, 1915.
Mallon was confined there for the remainder of her life. She became something of a minor celebrity, and was interviewed by journalists who were forbidden to accept even a glass of water from her. Later, she was allowed to work as a technician in the island's laboratory.
On November 11, 1938, aged 69, she died of pneumonia. An autopsy found evidence of live typhoid bacteria in her gallbladder. It is possible that she was born with the infection, as her mother had typhoid fever during her pregnancy. Her body was cremated, and the ashes were buried at Saint Raymond's Cemetery in the Bronx.
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| scene of Mary's arrest from the movie "Typhoid Mary" |
Born in 1869 in County Cork, Ireland, Mary immigrated to the United States in 1884. From 1900 to 1907 she worked as a cook in the New York City area.
In 1900, she had been working in a house in Mamaroneck, New York, for under two weeks when the residents developed typhoid fever. She moved to Manhattan in 1901, and members of the family for whom she worked developed fevers and diarrhea and the laundress died. She then went to work for a lawyer until seven of the eight household members developed typhoid; Mary spent months helping to care for the people she made sick, but her care further spread the disease through the household. In 1906, she took a position in Oyster Bay, Long Island. Within two weeks, six of eleven family members were hospitalized with typhoid. She changed employment again, and similar occurrences happened in three more households.
When typhoid researcher George Soper approached Mallon about her possible role spreading typhoid, she adamantly rejected his request for urine and stool samples. Soper left and later published the report in June, 1907, in the Journal of the American Medical Association. On his next contact with her, he brought a doctor with him, but was turned away again.
Mallon's denials that she was a carrier were based in part on the diagnosis of a reputable chemist who had found her to not harbor the bacteria, so perhaps she is not entirely to blame for her doubts. Moreover, when Soper first told her she was a carrier, the concept of a healthy carrier of a pathogen was not commonly known. Further, class prejudice and prejudice towards the Irish were strong in the period, as was the belief that slum-dwelling immigrants were a major cause of epidemics.
 |
| Mary Mallon in hosptial quarantine |
The New York City Health Department sent Dr. Sara Josephine Baker to talk to Mary, but "by that time she was convinced that the law was only persecuting her when she had done nothing wrong." A few days later, Baker arrived at Mary's workplace with several police officers who took her into custody. The New York City health inspector determined her to be a carrier. Under sections 1169 and 1170 of the Greater New York Charter, Mallon was held in isolation for three years at a clinic located on North Brother Island.
It is believed that individuals can develop typhoid fever after ingesting food or water contaminated during handling by a human carrier. The human carrier is usually a healthy person who has survived a previous episode of typhoid fever yet who continues to shed the associated bacteria, Salmonella typhi, in feces and urine. It takes vigorous scrubbing and thorough disinfection with soap and hot water to remove the bacteria from the hands.
Eventually, the New York State Commissioner of Health, Eugene H. Porter, M.D., decided that disease carriers would no longer be held in isolation. Mallon could be freed if she agreed to abandon working as a cook and to take reasonable steps to prevent transmitting typhoid to others. On February 19, 1910, Mallon agreed that she "was prepared to change her occupation of cook, and would give assurance by affidavit that she would upon her release take such hygienic precautions as would protect those with whom she came in contact, from infection". She was released from quarantine and returned to the mainland.
She had been given a job as a laundress, which paid lower wages, however. Mallon adopted the pseudonym Mary Brown, returned to her previous occupation as a cook, and in 1915 was believed to have infected 25 people, resulting in one death, while working as a cook at New York's Sloane Hospital for Women. This time I have no sympathy for her. Knowing she could infect others, she worked in a hospital! Public-health authorities again found and arrested Mallon, and returned her to quarantine on the island on March 27, 1915.
Mallon was confined there for the remainder of her life. She became something of a minor celebrity, and was interviewed by journalists who were forbidden to accept even a glass of water from her. Later, she was allowed to work as a technician in the island's laboratory.
 |
| Mary Mallon |
Tuesday, May 3, 2011
A Sacred Site
I entered a contest after I wrote Knight of Runes, not with hopes of winning, which would have been awesome, but rather for feedback. More than anything, I wanted feedback.
I did very well in the contest actually. Well, according to two of the three judges anyway. The swing in the third set of scores was, well that's a blog for another day. Suffice it to say, I placed well but didn’t win. But I did get the feedback. Awesome!
My story is a time travel. Our heroine says the right words, carries the correct talisman, and is standing in the right spot. The constellation of events transports her back in time 400 years. I set the magic place at Stonehenge. I know I took some ‘poetic’ license. The great stones now stand protected behind a fence. No longer can visitors walk around them.
One judge noted that she lived near some great stones that were about as old as Stonehenge and had no barriers. The stones stand proudly amidst the village of Avebury, Wiltshire County in southern England.
Avebury is impressive. The henge is made up of sets of standing stones in set patterns surrounded by a ditch and bank. While erosion and vandalism, to say nothing of religious persecution (even for a stone), has reduced the henge, it remains breathtaking. Construction at Avebury started about 3000 B.C., when the central part of the henge, the Cove, was built. Archeologists estimate this to be about the same time that the first stones at Stonehenge were set in place. Construction of the Avebury henge moved outward and lasted for several centuries finishing with the a great circles that define its border. Within the larger circle, sitting side by side are two smaller circles. The outermost circle covers almost 29 acres with a circumference of almost 1 mile. It is the largest stone circle in Europe and the best known prehistoric site in Britain.
These circles are much larger than the more famous Stonehenge. As a matter of fact, Stonehenge would fit into the outer stone circle at Avebury around 130 times.
In the early Saxon period, about 600 A.D., a small settlement was built that was went inside and outside the henge. It is surmised that the settlers thought it a semi-fortified area. A Benedictine church and priory were built in 1114 A.D. Later in the 12th century, the church suppressed pagan rituals. The more prominent stones were given names associated with the devil. Many of the stones were toppled and buried. Today, a large portion of village still resides inside the Avebury circle.
The Cove is the area of the henge where Rebeka, my heroine, is drawn into the time portal. Like the rest of the henge, it’s been a long held belief that the stones represent male and female characteristics. A male scientist must have done this designation as male stones are long and thin while the female is short and square. The two surviving primary stones at the Cove are perfect examples. I thought the Cove the perfect place for Rebeka’s adventure to begin.
Where does your favorite adventure begin?
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