Happy Valentine's Day and Launch of Brief Encounters

Here's some very exciting news for Valentine's Day – a brand new short story collection called Brief Encounters will be published by E-scape Press this spring.

It’s a collection of six fun, romantic stories written by the members of the Coffee Crew – Nell Dixon, Phillipa Ashley and me. I hope you're going to love them.  You can read all about the new collection on the new Brief Encounters blog here - do pop over and leave a comment!

Twelfth Night

I've been unable to blog for a while so I'd like to wish a belated Merry Christmas and a Happy and Healthy New Year to all :0)

 With Twelfth Night fast approaching, let's take a look at some of the old customs associated with this festival.  In the Christian calender, 6th January is Epiphany - named after the Greek word for manifestation and marking the manifestation of Christ to the Magi or wise men.  The secular name for celebrations, however,  is Twelfth Night, the origins of which are obscure but for centuries it was the culmination of a period of merrymaking which began on Christmas Eve.

In Tudor times, Twelfth Night and Day were marked by plays, pageants and masques and by the exchanging of gifts.  Twelfth Night, or What You Will by William Shakespeare was written to be performed as Twelfth Night entertainment and the comedy has many elements that are reversed (such as a woman dressing as a man and Malvolio imagining he can become a nobleman), in keeping with the revelry associated with Twelfth Night celebrations,

Two long-standing features of Twelfth Night celebrations were the games and the baking of a Twelfth Night cake.  The role of King and Queen were chosen at random from those present by whoever found the bean in their piece of cake becoming King, and whoever found the pea becoming Queen.  Once appointed, the King and Queen ruled over the rest of the entertainment.  A clove was also sometimes hidden in the cake, with its finder designated the Knave (Samuel Pepys confessed to finding a clove in his slice, but secretly putting it in his neighbour's portion!)  Thimbles, coins, rings or simple tickets were used to select characters for others present. 

One anonymous writer in the Universal Magazine of 1774 wrote:

'I went to a friend's house in the country to partake of some of those innocent pleasures that constitute a Merry Christmas; I did not return until I had been present at drawing King and Queen, and eaten a slice of the Twelfth Cake.....A noble cake was produced, and two bowls, containing the fortunate chances for the different sexes.  Our host filled up the tickets; the whole company, except for the King and Queen, were to be ministers of state, maids of honour, or ladies of the bedchamber.  Our kind host and hostess, whether by accident or design, became King and Queen.  According to Twelfth Day law, each party is to support their character until midnight.'

The tradition of cakes on Twelfth Night was so strong that it became the busiest day of the year for bakers and confectioners, as demonstrated in this 1827 extract from William Hone's Every-Day Book.

'In London, with every pastry-cook in the city, and at the west end of the town, it is 'high change' on Twelfth-Day.  From the taking down of the shutters in the morning, he, and his men, with additional assistants, male and female, are fully occupied by attending to the dressing out of the window, executing orders of the day before, receiving fresh ones, or supplying the wants of chance customers.  Before dusk the important arrangement of the window is completed.  Then the gas is turned on, with supernumerary argand-lamps and manifold wax lights to illuminate countless cakes of all prices and dimensions, that stand in rows and piles on the counters and sideboards, and in the windows.  The richest in flavour and the heaviest in weight and price are placed on large....salvers; ..... all are decorated with all imaginable images of things animate and inanimate.  Stars, castles, kings, cottages, dragons, trees, fish, palaces, cats, dogs, churches, lions, milkmaids, knights, serpents, and innumerable other forms, in snow-white confectionary, painted with varigated colours, glittering by 'excess of light' reflected from mirrors against the walls.'

But as people gathered around to admire the display, another traditional pastime took place - mischievous youths in the crowd created havoc by surreptiously nailing bystanders clothes to the window frame or tying them to their neighbours!

Here's an illustration by George Cruickshank showing the crowd surrounding a confectioner's shop displaying Twelfth Night cakes.  Look carefully and you'll see the pranksters have tied the ladies' dresses to the gentlemen's coat tails *g*

By the second half of the nineteenth century, Twelfth Night celebrations had begun to wane and the emphasis had shifted to Christmas and New Year.  Nowadays, Twelfth Night still marks the end of the Christmas period but more people know it simply as the day on which decorations should be taken down.  Speaking of which, I have some things to pack away and some cake to eat .... *g*

One of the greatest love stories of the 18th century?

 ' You are all to me.  You can always make me happy in circumstances apparently unpleasant and miserable ... Indeed, my dearest angel, the whole happiness of my life depends on you.’

So wrote Charles James Fox – aristocrat, Whig politician and one of the most brilliant men of his day – to the courtesan Elizabeth Armistead in 1785.  Their love story is one of the most unusual, fascinating and, perhaps, the greatest of the 18^th century.

Elizabeth Armistead was born Elizabeth Cane in July 1750.  Her origins are obscure, and it is not known exactly how Elizabeth came to embark on a career as a courtesan.  According to one source, at sixteen, this ‘tall and genteel’ young woman ‘with a beautiful face and a most captivating eye’ was persuaded by Mr. R., a  friseur (hairdresser), to be his model and in return for his obligation, she yielded to his amorous entreaties.  Another source claimed she was abandoned by her shoemaker-turned-lay preacher father at nineteen and was forced to sell her charms to support herself.  Whatever the truth, there was no turning back for Elizabeth once her virtue and reputation were ruined in the eyes of Society.   In this‘distressed and deserted’ situation, she was taken in by Mrs. Jane Goadby, one of the most notorious procuresses in London.  

Elizabeth Armistead by Sir Joshua Reynolds

Mrs. Goadby’s brothel in St. James’,  London was an exclusive establishment, one of a number in the area which were named ‘King’s Place nunneries'.  Elizabeth was considered striking rather than a great beauty, but she had other qualities that inspired passion in men.  There was a stillness about her, a certain luminosity, that drew attention and entranced her admirers.  Most important of all, she had charm, as well as a genius for friendship and she was a good listener and perhaps it is these qualities which were the real secret of her success.  She soon acquired a succession of rich and aristocratic patrons – a practice known as ‘in keeping’ or ‘high keeping’ - and it’s possible that she took the surname Armistead from a former patron.  The Duke of Ancaster, the Earl of Derby, Viscount Bolingbroke, General Sir Richard Smith (a fabulously wealthy nabob) and the Prince of Wales were among her lovers.  Elizabeth became the toast of the town, a fashion setter and London’s most famous and sought-after courtesan, maintaining that position for a period of ten years, a remarkable feat in a world where a courtesan’s popularity was apt to quickly fade.  She secured the freehold of a house in Bond Street and a second house in Clarges Street, and her movements were reported in the fashionable magazines.  

Then, in 1783, Elizabeth fell in love with Charles James Fox.

Charles James Fox was one of the most brilliant, complex men of his generation.  He was the second son of wealthy politician Henry Holland and Lady Caroline Lennox, daughter of the second Duke and Duchess of Richmond.  As a child he was indulged by his parents, particularly his father, yet Charles was not spoilt by this indulgence and seemed to thrive on it.  He was an intellectual prodigy, reading plays by the age of five and devouring books by the score while at Eton and then Oxford.  A brilliant conversationalist and orator, he was a larger than life figure and after a trip to the continent, he took to wearing the most outrageous macaroni fashions.  He also became addicted to gambling, a pastime that was lead to losses on a staggering scale, even for his wealthy family.  

Charles James Fox by Karl Anton Hickel

His extraordinary physical appearance is well documented.   His thick dark brows (Georgiana, Duchess of Devonshire nicknamed him ‘The Eyebrow’), hirsute air and less than fastidious personal hygiene make him sound unappealing yet Charles was a force of nature, inspiring a depth of affection among his friends that transcended even his death. 

Elizabeth and Charles knew one another for several years before they fell in love as they were part of the same (male) Whig circle.   Their affair started without expectation on both sides, but Charles’ early letters to ‘his dearest Liz’ display that she had his confidence and trust.  From the outset, he treated her as his equal and it was not long before the friendship between these two well-known figures was being reported in the press. 

In April 1783, Fox formed a coalition with Lord North, defeating Lord Shelburne.  He was appointed Secretary of State and he took to scribbling increasingly affectionate notes to Elizabeth from the House of Commons or his lodgings in St. James’.

‘I can not have a moment’s happiness or rest until I see you.  I had so set my mind upon seeing you now that I can not wean myself from it, and I know I shall be so nervous and out of spirits if you are not here by the 12^th that I shall disgrace myself, and be thought to be oppressed by the accidents of fortune which God knows is far from the case.  On the contrary I think things look well, and if they did not I think I have courage enough to despise them; but I cannot bear the disappointment of your not coming.  Pray come even if you should think it wise to go away again, and come immediately.  You may be here by 7^th or 8^th.  Indeed I can not doubt your affection for me, but if you do love me, you must come.  Depend upon it there shall be no danger.  If you do not chuse to go to your house you may come to mine.  If I were to write forever it would be to say pray come, pray come.’

When his duties permitted it, Charles spent time with Elizabeth either in London, or at a house in St. Anne’s Hill in Surrrey which Elizabeth had recently begun to rent.  Elizabeth, however, was having doubts.  Now she was with Charles in what was undoubtedly an affair of the heart, she had no patron to pay her bills.  She was in debt and she must have wondered how long Charles’ ardour would last.  In desperation, she wrote to him in the autumn of 1783, breaking off the affair.  Her letter does not survive, but Charles’ heartfelt, pleading reply does:

‘It is impossible to conceive how miserable your letter had made me.  No, my dearest Liz you must not go indeed you must not, the very thought of living without you so totally sinks my spirits that I am sure the reality would be more than I could bear....You shall not go without me wherever you go.  I have examined myself and know that I can better abandon friends, country and everything than live without Liz.  I could change my name and live with you in the remotest part of Europe in poverty and obscurity.  I could bear that very well, but to be parted I can not bear.' 

In the face of such an outpouring of love and distress, Elizabeth capitulated, retiring from her profession to devote herself to Charles.  She sold her two London houses and the annuities bestowed on her by former patrons, but neither she nor Charles could bear to give up the house in St. Anne’s Hill. 

Over the following years, Charles and Elizabeth shared a blissful life together.  She stayed in Surrey and Charles joined her whenever he could escape his parliamentary duties.  He hated to be parted from her and during one long absence, he wrote:

‘It may sound ridiculous, but it is true that I feel every day how much more I love you than even I know.  You are all to me. You can always make me happy in circumstances apparently unpleasant and miserable... Indeed, my dearest angel, the whole happiness of my life depends on you.  Pray, pray do not abuse your power – Adieu.’

The drawing rooms of Charles’ married friends would be forever closed to Elizabeth (as a former courtesan), but she did not repine and made a life for herself and for Charles.  They enjoyed reading the classics together, gardening and planning improvements to the house.  

 In September 1795, Charles finally persuaded Elizabeth to marry him although at Elizabeth’s request, the marriage was to be kept secret.  For the next seven years, it remained so, even from their family and closest friends.  Their love only deepened over time and when Charles James Fox died on 15^th September 1806, the name of the woman he loved - ‘my dearest  dearest Liz’ - was on his lips.  ‘Indeed’ wrote Lord Holland ‘if one had not known it before, his last hours would have convinced us that the ruling passion of his heart was affection and tenderness for her.’

Elizabeth passed away on 8^th July 1842, aged 91 years.  She outlived her beloved husband by 36 years.  Her warmth of spirit and capacity for friendship remained with her, with many friends, relations, their children and grandchildren coming to visit and stay.  Dearest Liz, it seems, was not only loved by Charles, but by all those around her too.

If you'd like to read more about the enduring love affair between Elizabeth Armistead and Charles James Fox, I'd recommend Katie Hickmans' excellent book, Courtesans.

Georgian and Regency Recipes (1) - A Fine Syllabub

After browsing recently through a collection of 18th and 19th century recipes, I thought I'd share a few of them on here.  Hannah Glasse and Eliza Acton were two of the greatest English cookery writers from this period and most of the recipes come from their famous publications:  Hannah Glasse's The Art of Cookery Made Plain and Easy and Eliza Acton's Modern Cookery for Private Families.    Below is Hannah's recipe for 'A Fine Syllabub'.

Traditionally, syllabub was made by milking a cow into a bowl of ale or cider.  This gave a frothy top to the liquor and so it was partly eaten, partly drunk.  Gradually in the 17th century, milk and ale were replaced by cream and wine, whipped together, which produced a creamy froth on a liquor base.  During the 18th century, the proportion of cream was increased so that no separation took place and the resulting 'everlasting syllabub' existed alongside the separated version throughout the 1700s.

To make a fine syllabub from the cow: Make your syllabub of either Cyder or Wine, sweeten it pretty sweet, and grate nutmeg in, then milk the Milk into the Liquor; when this is done, pour over the Top half a pint or pint of Cream, according to the Quantity of Syllabub you make.  You may make this syllabub at Home, only have new milk; make it as hot as milk from the Cow, and out of a tea pot or any such thing, pour it in, holding your Hand very high.

- Hannah Glasse The Art of Cookery Made Plain and Easy.

Most of us haven't got a cow readily available to milk *g* so here's the recipe I use for an Everlasting Syllabub - and extremely delicious it is too!

1/2 pint double cream
finely grated rind and juice of 1 lemon
1 tablespoon brandy
1 tablespoon sherry
2 oz. caster sugar

Place all the ingredients into a mixing bowl.  Whisk until light but not too thick.  Place the mixture into small glasses and refrigerate until required.  Serve with almond biscuits.

High Life by Thomas Rowlandson (1764)

Georgette Heyer Celebration August 2010

As a fan of Georgette Heyer since my teens, yours truly was delighted to be asked to take part in a month-long celebration of her work over at Laurel Ann's fantastic blog, Austenprose.com. The event coincides with Heyer's birthday on 16th August and will feature thirty-four book reviews of her romance novels, guest blogs, interviews of Heyer enthusiasts from the blogsphere, academia and publishing and tons of great giveaways.

Special guests will be Heyer expert Vic Sanborn of Jane Austen’s World and Deb Werksman, acquiring editor of Sourcebook Casablanca and the catalyst in re-introducing Heyer to a new generation of readers in the US.

Thirty fellow Heyer enthusiasts will be joining in the festivities, contributing book reviews of all her romance novels - look out for my review of Lady of Quality on 31st August.

It's going to be fun so make sure you pop over to Austenprose.com and follow this bang up to the mark event as it happens!

Here's a full listing of what's coming up:

Georgette Heyer Event Schedule

Sun Aug 01

Event intro

Deb Werksman Interview

Review of Georgette Heyer’s Regency World, Laurel Ann – Austenprose

Mon Aug 02

The Black Moth, Aarti – Book Lust

Powder and Patch, Lucy – Enchanted by Josephine

Wed Aug 04

These Old Shades, Keira – Love Romance Passion

The Masqueraders, Helen – She Reads Novels

Fri Aug 06

Devil’s Cub, Meredith – Austenesque Reviews

The Convenient Marriage, Laurel Ann – Austenprose

Sun Aug 08

Regency Buck, Susan Holloway Scott – Two Nerdy History Girls

The Talisman Ring, Ana – An Evening at Almack’s

Mon Aug 09

An Infamous Army, Elaine Simpson Long – Random Jottings of a Book and Opera Lover

The Spanish Bride, Kelly – Jane Austen Sequel Examiner

Wed Aug 11

The Corinthian, Danielle – A Work in Progress

Faro’s Daughter, Joanna – Regency Romantic

Fri Aug 13

The Reluctant Widow, Jane Greensmith – Reading, Writing, Working, Playing

The Foundling, Claire – The Captive Reader

Sun Aug 15

Arabella, Kara Louise – Delightful Diversions

The Grand Sophy, Meg – Write Meg

Mon Aug 16

Interview with Vic – Jane Austen’s World

Friday’s Child, Vic – Jane Austen’s World

Wed Aug 18

The Quiet Gentleman, Deb Barnum – Jane Austen in Vermont

Cotillion, Alexa Adams – First Impressions

Fri Aug 20

The Toll-Gate, Laura – Laura’s Reviews

Bath Tangle, Deb Barnum – Jane Austen in Vermont

Sun Aug 22

Sprig Muslin, Laura – Laura’s Reviews

April Lady, Becky Laney – Becky’s Book Reviews

Mon Aug 23

Sylvester, or the Wicked Uncle, Laurel Ann – Austenprose

Venetia, Laurel Ann – Austenprose

Wed Aug 25

The Unknown Ajax, Brooke – The Bluestocking Guide

A Civil Contract, Elaine Simpson Long – Random Jottings of a Book and Opera Lover

Fri Aug 27

The Nonesuch, Marie – Burton Review

False Colours, Kristen – BookNAround

Sun Aug 29

Frederica, Nicole – Linus’ Blanket

Black Sheep, Katherine – November’s Autumn

Mon Aug 30

Cousin Kate, Chris – Book-A-Rama

Charity Girl, Dana Huff – Much Madness is Divinest Sense

Tues Aug 31

Lady of Quality, Elizabeth Hanbury – Elizabeth Hanbury Blog

Event wrap-up

Sat Sep 07

Giveaway winners announced

Masquerades and The Pantheon

Georgian London loved masquerades.

Promenades, assemblies and balls were all in the spirit of the era, but dressing up in exotic costumes with the added frisson of excitement brought about by disguise, gave masquerades and masked balls a touch of glamour.

The first person to introduce masquerades into England and stage them commercially was the Swiss impresario Count Heidegger. John James (Johann Jacob) Heidegger was manager of the King's Theatre, Haymarket and became known as the 'First Minister of Masquerades'. He later held the title of 'Master of the Revels' to George II. From 1710, when there were no stage performances, Heidegger transformed his theatre into a ballroom and charged a penny a ticket. The auditorium and pit were floored over and 500 candles lit the scene.


In this circa 1724 painting by Guiseppe Grisoni, richly costumed masked guests promenade between two side tables of food.

The moment of unmasking could lead to pleasure as well as disappointment. Fanny Burney wrote in 1770: The old witch in particular we found was a young officer. The Punch who made himself as broad as long was a very handsome man, but what surprised me was the shepherd whose own face was so stupid we could scarcely tell whether he had taken off his mask or not ... '


Masked balls in the houses of the nobility were events in the social calendar and highly anticipated. When the Duke of Richmond was taken ill and a masked ball had to be postponed, it caused, according to Horace Walpole, 'a sad alarm in the kingdom of white satin and muslin.'

Teresa Cornleys, a singer from Vienna, became known as the Heidegger of her age shortly after her arrival in London in 1756. Madame Cornleys as she became known dominated the masquerade scene for nearly 50 years. Following Vauxhall and Ranelagh, she developed subscription masquerades at Carlisle House, thus encouraging a fashionable clientele. They became incredibly popular and in 1770 the House of Commons was adjourned to allow people to attend. Lord Galway's daughter caused a sensation by appearing in a dress embroidered with jewels, said to be worth £60,000. Lord Shelburne went dressed as a Turk, the Duke of Grafton as a jockey and the Prime Minister Lord North as a Harlequin. Captain Watson, a Guards officer, appeared as Adam but in his clinging, flesh-coloured tights he appeared naked and was forced to leave!

Favourites choices for ladies' costumes were Diana the Huntress, a shepherdess, Melpomene and a Vestal Virgin. At Ranelagh and Vauxhall, there was a dressing room for last-minute disguising.

John Raphael Smith's painting 'Promenade at Carlisle House, Soho Square' is thought to show society beauties Harriet Montagu and Maria Townley, with the figure at the doorway the artist himself.

But things went downhill for Madame Cornleys. In 1771, she was fined £50 for holding a masquerade without a licence and was declared bankrupt the following year. The main cause of her downfall was the opening of the larger, more attractive assembly rooms in Oxford Street - The Pantheon. The Pantheon put on masquerades in open competition to Carlisle House and although Madame Cornleys staged comebacks, she was eventually forced to sell. Carlisle House was demolished in 1788.

The Pantheon was designed by the then almost unknown James Wyatt. Estimates of the building costs vary, but it was at least £30,000. The architecture echoed some of the features of it's Roman namesake and Mr. Burney stated some years later that it was 'regarded both by natives and foreigners, as the most elegant structure in Europe, if not on the globe… . No person of taste in architecture or music, who remembers the Pantheon, its exhibitions, its numerous, splendid, and elegant assemblies, can hear it mentioned without a sigh!'

At the outset, standards and social tone were high. When it opened on 27 January 1772, up to fifty pounds was paid for tickets for the first night which attracted over seventeen hundred members of high society including all the foreign ambassadors and eight dukes and duchesses. During the first winter there were assemblies only, without dancing or music, three times a week. In subsequent seasons the entertainments included a mixture of assemblies, masquerades and subscription concerts.

In the 1780s the popularity of the Pantheon declined. After the destruction of the King's Theatre by fire in 1789, it was converted into an opera house on a twelve year lease. James Wyatt was once again the architect. After only one complete season of opera the Pantheon was burnt to the ground in 1792.

By 1795 the structure had been rebuilt in a similar but not identical form and it was leased as a place of assembly to provide masquerades and concerts. The principal room of this reincarnation was not a rotunda but consisted of "an Area or Pit, … and a double tier of elegant and spacious Boxes, in the centre of which is a most splendid one for the Royal Family". The Pantheon reopened with a masquerade on 9 April 1795 but the revived assembly rooms were a failure.

From 1798 to 1810 the shareholders reverted to the original custom of managing the Pantheon themselves but the popularity of the entertainments continued to decline and it suffered the same decline in standards that affected Carlisle House.

It became the haunt of 'a motley crowd of peers and pickpockets, honourables and dishonourables, demireps, quidnuncs and quack doctors.' Ladies wore increasingly risque costumes while men were clad in loose-hooded cloaks and half-masks (known as dominos). Behaviour grew more licentious and this print (above) by Rowlandson gives a clue to the riotous evenings that were taking place by the early years of the 19th century.

In 1811–12 the building was converted into a theatre, but this was unsuccessful and the career of the Pantheon as a place of public entertainment came to a close in 1814, when it was turned into a Bazaar. The site is now occupied by Marks & Spencer.

Midsummer Eve

Midsummer Eve is fast approaching and to mark the event, publishers E-scape Press Limited asked me to do a Q & A session about my Regency short stories, Midsummer Eve at Rookery End.

I thought I'd post the results over here too :0)


You normally write novels, what inspired you to write a collection of short stories?

I’ve always loved reading short stories so it was a natural progression to write them. Midsummer Eve at Rookery End seemed a good way of introducing readers to my writing, and I liked the idea of stories being connected by a theme on which I could hang a number of plots.

I’ve never subscribed to the ‘I’ve just got into it and then it’s all over’ point of view on shorts. In my opinion a well-written, carefully crafted short story brightens any day. It can also act as a palate cleansing sorbet between novel-sized courses.

Short stories are fabulous when you are pushed for time and need a quick fiction fix. Contrary to perceived wisdom, they seem to be enjoying a revival in popularity if, indeed, the demand for them ever went away. There is no doubt the format suits today’s hectic lifestyle and desire for immediacy. Coupled with more small presses and publishing platforms springing up, conditions seem perfect for short stories. Let’s see more of them.

Of course, I love novels too. One form of storytelling is not worth less than another, they are just different.


Was it easier writing short stories?

The end is always in sight so that’s a big plus. It’s a cliché, but every word counts in a short story which makes for lean, elegant prose and a great read.

Also, it is often a better format for concepts that would feel overstretched in novels.

The main difficulty is amount of plot and characterisation. You have to get enough in there to engage the reader, but you can’t go overboard on detail because of the word count. It’s a fine balance, but if you can get it right - woohoo!


Why did you pick Midsummer Eve out of all the possible festivals in the year?

Midsummer Eve was one of the favourite times in the year for love divinations. The origins of these divinations are unclear, but they were widespread in England by the 17^th century. Popular ones included girls throwing hemp seed over their shoulders at night in the hope of seeing the form of their future husband, and ‘Midsummer Men’ which involved placing orpines side by side in pairs to represent a man and his sweetheart. If one plant inclined towards the other, it indicated love. If it reclined, it indicated aversion.

The idea of a midsummer Regency ball to celebrate these ancient customs, and romance in general, seemed a very appropriate one and Rookery End provided the perfect stage for three tales of midsummer love and passion.


You have written wonderful heroes in your short stories. Which is your favourite and why?

Oh, this is so tough!

Let’s see ...

Sir Benedict’s been badly hurt in the past and a damaged hero is always appealing.

The Marquess of Shaftesbury is a rakish bad boy and who doesn’t want to see a rake tamed by love?

Sir Tristan is handsome, urbane and decisive, the ideal man to turn to in a crisis...

Each is wonderful in his own right so I can’t pick a favourite and, interestingly, neither can readers – votes flood in for all three! I will say the Marquess was great fun to write. Taking him from rake to hero in 7,000 words was an intriguing challenge ;0)


And the heroines. Which is your favourite and why?

They are all passionate, determined and resourceful, but by a whisker I’d say Verity from A Scandal at Midnight.

As a lady forced to eke out a living as a governess, Verity Brook is trapped between two worlds: her lowly position excludes her from the ton yet she’s treated with suspicion by other governesses and companions because of her background. Then, when she tries to avert a scandal at the Midsummer Eve ball, she falls for a man who is utterly out of her reach. You sympathise with the awful situation Verity finds herself in while admiring her pride and indomitable spirit.

But to find out if she gets the happy ending she deserves, you’ll have to read A Scandal at Midnight ;0)


Much of the action takes place outside of the ballroom. Was that deliberate?

All I knew at the outset was I wanted some scenes to take place in the garden – a garden on Midsummer Eve is a magical place for romance. As I went along the action evolved to incorporate more of Rookery End estate, and beyond. It worked well, giving me far more scope than if I had kept the characters in the ballroom.


What sort of research did you do for MSE?

Researching Midsummer Eve customs was great fun, but I also spent time drawing up a list of favourite features from my favourite historical properties. I used this list to create an imaginary, awe-inspiring country house and garden - Rookery End is the result.


The Regency period is a very popular one with readers. What attracts you to write in that time period?

The Regency has become synonymous with elegance, wit and refinement, but it was also a time of innovation in science, technology and the arts, and an age of excess and extravagance. Many crises and events – the French Revolution, the Napoleonic Wars, the Industrial Revolution and the continuing ill health of the King – helped to shape society’s manners and mood. Regency society was on the cusp of reform at all levels. I’ve loved it since I was a teenager and for me, this dramatic, exciting and paradoxical era provides the perfect backdrop for romance.

Oh, and I should also mention the Regency fashions. There’s something very attractive about a hero in a well-fitting coat, elegantly-tied cravat, thigh-hugging buckskins and polished top boots *g*


Are we going to see more of Rookery End?

Yes. I don’t want to overstretch the premise, but I think there is room for one more story ;0)

And who knows, Rookery End might appear in future productions.


If you wrote your autobiography, what would you call it?

I’m a fan of the Marx brothers and this quip from Groucho would do nicely:

‘A likely story – and probably true.’


Finally, who are your favourite authors?

Georgette Heyer, PG Wodehouse, Jane Austen, Elizabeth Gaskell, the Brontes, Sir Arthur Conan Doyle, Wilkie Collins, Agatha Christie, Dorothy L. Sayers, Roald Dahl.

There are many romance authors whose books I enjoy, too numerous to list here.

When I want a complete change, I’ll pick up a Tom Sharpe, Clive Cussler or John Grisham novel, or some non-fiction. I’ll read anything by Simon Schama, Ian Kelly, Richard Holmes or Dan Cruickshank.





Midsummer Eve at Rookery End is available from E-scape Press Limited, Amazon UK, Amazon.com (paperback and Kindle editions) and The Book Depository (with free worldwide delivery).