Do we still like ‘Ruritania’?

Flavia-and-Rudolf (Gibson)

Frontispiece to The Prisoner of Zenda, Charles Dana Gibson

Rudolf Rassendyll (Sigh)
Princess Flavia (Aaah!)
Duke Michael (Grrrr!)
Rupert of Hentzau (Wow but grr!)

When I picked up The Prisoner of Zenda at age 12, I was enraptured. It was a torch under the bedclothes job. When it ended I cried, partly from the denouement, partly because it had finished. You know that sense of deep loss when you say goodbye to beloved characters.

Then I discovered Rupert of Hentzau. Thank the gods. I was plunged back into the thrills, romance, courage and sacrifice of Ruritania. And the high moral choice of the hero and heroine.

The stories set between the 1850s and 1880s have been updated and revised; they’ve been made into a BBC television series and feature films, notably the one starring the fabulous Stewart Granger, but what’s between the covers still grabs my mind and emotions.

the_prisoner_of_zenda_1952_posterRuritania itself is an imaginary country in central Europe, a ‘placeholder kingdom’ and is used in academia and the popular mind to refer to a hypothetical country. The author, Anthony Hope, depicts Ruritania as a German-speaking Catholic country under an absolute monarchy, with deep social, but not ethnic, divisions reflected in the conflicts of the first novel, The Prisoner of Zenda.

Hope’s novels resulted in ‘Ruritania’ becoming a generic term for any small, imaginary European kingdom used as the setting for romance, intrigue and the plots of adventure novels. It even lent its name to a whole genre of writing, the ‘Ruritanian romance’.

Such stories are typically centered on the ruling classes, almost always aristocracy and royalty, or as in Winston Churchill’s novel Savrola the dictator in the republican country of Laurania who is overthrown. The themes of honour, loyalty and love predominate, and the works frequently feature the restoration of legitimate government after a period of usurpation or dictatorship.

grand-budapest-hotelThe genre has been much spoofed, mined and copied: GB Shaw’s Arms and the Man, Dorothy L Sayers’ Have his Carcase and Nabakov’s Pale Fire parody elements. In the satire The Mouse That Roared, the Duchy of Grand Fenwick (the title role played by the brilliant Margaret Rutherford) attempts to avoid bankruptcy by declaring war on the United States as a ploy for gaining American aid.

Sci-fi writer André Norton borrowed many elements and Ursula K. Le Guin set a number of short stories and a novel in the fictitious and essentially Ruritanian East European land of Orsinia. The Grand Budapest Hotel, a 2014 comedy film is set in the fictional nation of Zubrowka, a central European alpine state teetering on the outbreak of war.

Why does the idea of Ruritania persist and why do the books still attract readers?
Let’s unpick the themes behind the stories…
–  There’s romance – the heaviest read genre on the planet – and the ‘world lost for love’ vs. ‘love lost for the world’ conflict
–  Thrills, tension, mixed motives, dark plots and evil schemes, turning the screw on our emotions
–  And as for action adventure, apart from the storyline of the books, there are chases, sword fights, gun duels, escape by night, dungeons and secret stairways
–  The ‘noble Englishman’ idea which we may think is dead – I suggest Jonathan Pine in The Night Manager or even our old friend James Bond keep this one on the front burner
–  Exaggerated nature of fictional characters who can be more noble or dastardly than we are

the-night-manager

Jonathan Pine – the ‘noble English hero’

Of course, Ruritanian stories have to be plausible by having a good number of connections to our world while maintaining that essential difference, and they have to be consistent within their own world. Nobody likes being jolted out of a fictitious world by sloppy writing.

Now, there are plenty of imagined other worlds, often projecting an existence hundreds or thousands of years in the future or one here on Planet Earth, but after a massive disaster. Both can be pretty grim. But do alternative existences have to be dystopian or post-apocalyptic to be authentic?

Enter Ruritania. The stories are hopelessly old-fashioned, somewhat sexist and rather naive, but they are essentially optimistic. But more than anything they are an escape from the dullness and stress of everyday and emphasise the good guys winning in a morally acceptable way.

Roma Nova is a world away from Ruritania but it does use its core concepts of adventure, romance, honour and taking tough moral decisions.  While its stories are set in a small European country, the small state’s Roman-ness, intense struggle through history and egalitarian social system separate it from Ruritania, making it unique, possibly the centre of a new genre even?

While often patrician, Roma Nova’s characters are more fallible, yet more robust and are ready to step over any moral line set by Anthony Hope.

They would eat Rupert of Hentzau for breakfast.

 

Alison Morton is the author of Roma Nova thrillers –  INCEPTIO, CARINA (novella), PERFIDITAS, SUCCESSIO,  AURELIA, NEXUS (novella), INSURRECTIO  and RETALIO,  and ROMA NOVA EXTRA, a collection of short stories.  Audiobooks are available for four of the series. Double Identity, a contemporary conspiracy, starts a new series of thrillers.

Find out more about Roma Nova, its origins, stories and heroines and taste world the latest contemporary thriller Double Identity… Download ‘Welcome to Alison Morton’s Thriller Worlds’, a FREE eBook, as a thank you gift when you sign up to Alison’s monthly email newsletter. You’ll also be among the first to know about news and book progress before everybody else, and take part in giveaways.

J J Marsh - Love me, love my character

jj-marsh-picIt’s my great pleasure to welcome back crime writer J J Marsh. We met a while ago in a distanced way on Facebook – the two of us belong to the Alliance of Independent Authors – but when she and I were both selected as indie Editor’s Choices in prestigious UK publishing trade magazine ‘The Bookseller’ I invited her to talk to us about her book, Cold Pressed, its world and heroine. 

Writer, journalist, teacher, actor, director and cultural trainer, Jill has lived and worked all over Europe. Now based in Switzerland, she’s a founder member of Triskele Books, writes for Words with JAM magazine, co-edits Swiss literary hub The Woolf and reviews for Bookmuse. 

Welcome Jill! 

Why did you write Behind Closed Doors?
After getting heartily sick of crime novels where the only roles for women were mutilated prostitute or ‘feisty kickboxing nubile ladycop’. I wanted to read about women who were good and bad, flawed, complex, morally questionable, physically ordinary and real. So I created Beatrice Stubbs. (And as a reader, I can tell you she’s a wonderful heroine, full of flaws, insight, ordinariness and cleverness at the same time.)

Why do you think Beatrice is like she is?
Beatrice has developed coping strategies after years of struggling with depression and mood swings. After all, she’s from a generation in which mental health is a matter of ‘pulling yourself together’. Her appetites are lusty, her temper unpredictable and her loyalties unswerving. People’s assumptions about her generally work in her favour, so she plays up to them. And still, after all this time, she feels guilty.

What does she think she’s like?
human-ritesExtract from Human Rites: “Beatrice had always prided herself on a clear-eyed self assessment – she knew she was nothing special. Hard work and application enabled her to rise through the ranks of the Met, because her intelligence was no more than the upper end of average. Talent, kindness and wit, albeit mediocre, were in evidence, as were selfishness and greed. Her looks would never turn heads, apart from her hair, and that caused more alarm than admiration. She lacked vanity, despite a sizeable ego, but on the whole, she’d always quite liked herself. Until her diagnosis.”

Oh, that’s a teaser line to end on!

 

What’s Behind Closed Doors about?
behindcloseddoors_ebook-cover-new_medium“Fat Cats are dying. Did their conscience get to them? Or did someone else?”
Suicide – the act of taking one’s own life.
Homicide – the act of taking someone else’s.

An unethical banker suffocates. A diamond dealer slits his wrists. A media magnate freezes in the snow. A disgraced CEO inhales exhaust fumes. Four unpopular businessmen, four apparent suicides. Until Interpol find the same DNA at each death.

Beatrice Stubbs, on her first real case since ‘the incident’, arrives in Switzerland to lead the investigation. But there’s more to Zurich than chocolate and charm.

Potential suspects are everywhere, her Swiss counterpart is hostile and the secretive world of international finance seems beyond the law. Battling impossible odds by day and her own demons at night, Beatrice has never felt so alone.
She isn’t.
Someone else believes in justice.
The poetic kind.

“Thrilling new crime fiction from a seriously good writer” – Annemarie Neary, author of Siren

Buy on Amazon        Buy on iBooks/iTunes

Connect with JJ Marsh   Website        Twitter: @jjmarsh1

 

Alison Morton is the author of Roma Nova thrillers, INCEPTIO, PERFIDITAS, SUCCESSIO and AURELIA. The fifth in the series, INSURRECTIO, was published in April 2016.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, for FREE when you sign up to Alison’s free monthly email newsletter

Lucienne Boyce – Love me, love my character

lucienne-boyceLucienne Boyce has published two historical novels, To The Fair Land (2012) and Bloodie Bones: A Dan Foster Mystery (2015). She published The Bristol Suffragettes (non-fiction) in 2013. She is currently working on the second Dan Foster Mystery and the biography of a suffragette with Bristol connections. She is a steering committee member of the West of England and South Wales Women’s History Network, and recently joined Bristol’s BCfm Radio as a presenter on the Silver Sound programme.

Why did you write Bloodie Bones: A Dan Foster Mystery?
I write historical fiction about the eighteenth century and non-fiction about the women’s suffrage campaign. Both are aspects of my interest in radical history and the history of protest. I’m interested in telling stories of how people made powerless by the law are finally driven to resist that law – to become stone-throwers, vandals, arsonists – and in thinking about how far they could and should go in those struggles.

At the same time, I’d been pleasantly surprised by how much I enjoyed writing the mystery elements of my first novel, To The Fair Land (also set in the eighteenth century – about the search for the anonymous author of a book about a voyage to the South Seas which involves the hero getting to the bottom of old and new crimes). More to the point, readers were telling me they enjoyed those aspects of the story. I’ve always loved detective fiction – I’m a huge fan of Lord Peter Wimsey, Sherlock Holmes and Inspector McLevy. I also have a long-standing interest in the eighteenth century, a period when I think many of the systems we live with today were established or developed, including the policing system. The Bow Street Runners were the forerunners of our modern CID, and even without the assistance of modern forensic processes many of their investigative methods are remarkably familiar.

So it seemed natural to combine all this and come up with a Bow Street Runner as my main character. In that way, I could write about someone whose job is to uphold the law at a time of great social change and unrest. One of the most far-reaching of those changes was land enclosure, when land previously accessible to the poor was taken into private ownership. For many poor people it was an economic disaster, driving them out of their homes and into the cities, where they provided the cheap labour that made the expansion of industry possible.

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Decaying hedges mark the lines of the straight field boundaries created by the 1768 Parliamentary Act of Enclosure of Boldron Moor, County Durham. Creative Commons Attribution-Share Alike 2.0 Generic licence. Attribution: Andy Waddington

A major inspiration for Bloodie Bones was John Clare’s poem The Mores, which reminds us that these changes had an emotional impact as well as an economic one. All too often, the history of enclosures (like that of its urban counterpart, industrialisation) has been told as part of a narrative of “progress”. Clare’s poem draws our attention to the fact that it affected real people: “Inclosure came and trampled on the grave/Of labour’s rights and left the poor a slave.”[1]

Why do you think your main character, Dan Foster, is like he is?
Dan Foster had a tough upbringing. Abandoned and homeless as a child, he survived on the streets by thieving. That means he understands what it is to be hungry and homeless, to be ragged and cold, to be treated as a scrounger and a beggar. He also knows that law and justice are not necessarily synonymous. Yet he often struggles with his sense of injustice and his duty to uphold the law. In Bloodie Bones, for example, he begins to realise what’s at stake for the protestors. It’s a tension that can only intensify – perhaps one day he will have to decide on which side he stands.

He also has a deep-rooted fear of being cast back into the poverty, violence and squalor of his past. That makes him ambitious to succeed in his profession. As the series develops we’ll see him trying to balance this with his growing distaste for an oppressive legal system. He’ll struggle with personal issues too, and in particular his unhappy marriage and his love for his wife’s sister.

Bow_street_microcosm

Bow Street Magistrates’ Court in London: This engraving was published as Plate 11 of Microcosm of London (1808)

What does Dan Foster think he is like?
“I’m a Principal Officer attached to Bow Street Magistrates’ Court – what you might know as a Bow Street Runner – though we’re known by many other names too, which I won’t mention in polite company. I’d never have got this far if it hadn’t been for the man I call Dad, Noah Foster. Noah came across me at the Oliver v Johnson fight back in ’81. I was out on the prigging lay* and I’d got into a fight of my own with another diver* who thought I was poaching on his patch. Gave me a beating too, but Noah saw something in the savage, sullen thing I was then and he took me home to his gym, brought me up, trained me to fight scientifically.

I know there are those who think that boxing is low and vicious and it’s true there are plenty who call themselves pugilists who are nought but butchers. But what Noah taught me was something different. It was discipline and courage. It was self-respect. It was to hate a bully, to stand up to the strong who prey on the weak. It was the saving of me – and still is, for in my line of work soft words are not always enough to turn what you might call the hand of wrath. I’m not so keen on pistols, only as a last resort. So the science comes in handy.

I’ve never wanted to turn professional – I’ve seen too many good fighters ruined by fame and fortune. Dad’s always accepted that – in fact, it was him who suggested I join the Bow Street patrol as a way of earning some money, though I’ll inherit the gym one day. A day I hope is a long way off yet. But Mrs Foster – Caroline – doesn’t see it that way. She’d rather be married to a boxing champion than a Bow Street Runner. But if my fighting skills are to mean anything it’s here, in the job. This is who I am. I’m Dan Foster, Principal Officer of Bow Street.”

*prigging lay – thieving
* diver – pickpocket

[1] John Clare, The Mores, in Selected Poems and Prose of John Clare, edited by Eric Robinson and Geoffrey Summerfield (Oxford: Oxford University Press, 1967), pp. 169 – 171.

So what’s Bloodie Bones: A Dan Foster Mystery about?
bloodie-bones-cover-small“Parsons and tyrants friends take note. We have born your oppreshuns long enough. We will have our parish rights or else Bloodie Bones will drink your blood.”

When Lord Oldfield encloses Barcombe Wood, depriving the people of their ancient rights to gather food and fuel, the villagers retaliate with vandalism, arson and riot. Then Lord Oldfield’s gamekeeper, Josh Castle, is murdered during a poaching raid. Dan Foster, Bow Street Runner and amateur pugilist, is sent to investigate.

Dan’s job is to infiltrate the poaching gang and bring the killers to justice. But there’s more to Castle’s death than at first sight appears. What is the secret of the gamekeeper’s past and does it have any connection with his murder? What is Lord Oldfield concealing? And did someone beside the poachers have a reason to want Josh Castle dead?

As tensions in Barcombe build to a thrilling climax, Dan will need all his wits and his fighting skills to stay alive and get to the truth.

Bloodie Bones is a winner of the Historical Novel Society Indie Award 2016 and was a semi finalist for the M M Bennetts Award for Historical Fiction 2016.

2016-hns-award

Alison, Lucienne and Maria, three of the 2016 finalists, Historical Novel Society Indie Award

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Buying links:   Amazon.co.uk    Amazon.com
Also available on Kobo, Nook and iBooks.

Connect with Lucienne: Website    Twitter @LucienneWrite 
Facebook    Blog    Goodreads

 

Alison Morton is the author of Roma Nova thrillers, INCEPTIO, PERFIDITAS, SUCCESSIO and AURELIA. The fifth in the series, INSURRECTIO, was published in April 2016.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, for FREE when you sign up to Alison’s free monthly email newsletter

Flocking together

Readers need books. Writers want to write. Seems like a match made in heaven, doesn’t itSigning at fairs?

Writing is a solitary occupation. But publishing a book can’t be done without others: beta readers, critique partners, editors (structural, developmental, line, copy) and proofreaders. Take your pick.

Then we need a marketing team: advance readers, blog hosts, friends/colleagues who will tweet and post on social media, reviewers, connectors. All these are needed to show readers that a book exists.If your book is a gripping read, well formatted with a stunning cover and blurb and available on several platforms and in different formats (ebook of various types, paperback, perhaps audio), they you have a good start.

ciceroAs Cicero said, everybody is writing a book these days. Many are not good, but how to make the diamonds stand out amongst the pile of poo? Once discovered by appreciative readers, much of the work is done. If your books’s any good, they will tell their friends, leave a review and hopefully rave about them generally. And if you write another, then readers will start to give you their love. Be respectful of that – they are spending life hours reading your stuff. Make sure it’s worth it. 🙂

I digress. There’s an old motto in French “L’union fait la force” (Strength through unity). You’re not going to be surprised that it has a Latin source – yep, it’s those pesky Romans again.  Gaius Sallustius Crispus, or Sallust as we generally call him, was a Roman historian and politician (86 – c. 35 BC). Although probably more famous for his account of the Cataline conspiracy, he wrote a tome about the Jugurthine War and in Chapter 10 said  “concordia res parvae crescunt” (small things flourish by concord). Everybody loves to jump on a saying from the Roman Empire for their national and state motto and several countries have done so.

ALLI authors meet up at the London Book Fair April 2014

ALLI authors meet up at the London Book Fair April 2014

For authors, this rule applies. Working together, we can achieve a great deal more than by ourselves. This is why we join writing associations and groups, not just because we are lonely. If you read my Roma Nova blog, Facebook page and follow me on Twitter, you know I talk about my books, hopefully not in a spammy way. But it’s from joint promotion that I gain most. And bringing my books to readers is what counts, not just for the money, but to get my stories to them, entertain them and possibly provoke them. 😉

 

Alison Morton is the author of Roma Nova thrillers, INCEPTIO, PERFIDITAS, SUCCESSIO and AURELIA. The fifth in the series, INSURRECTIO, was published in April 2016.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, for FREE when you sign up to Alison’s free monthly email newsletter

What is an editor? Joanna Maitland reveals all

joannamaitland6This week’s guest, multi-published Joanna Maitland, knows all about loving her characters, but to ring the changes from the ‘Love me, love my character’ series, I’ve asked her to give as some of her valuable expertise. What am I talking about? Read on…

Joanna Maitland’s first historical romance went through the Romantic Novelists’ Association’s New Writers’ Scheme (NWS) and was then published by Harlequin Mills & Boon. Twelve more Mills & Boon historicals followed. At the same time, Joanna became a reader for the NWS and got a real kick out of helping other aspiring writers along the difficult road to publication. Some of her NWS ‘clients’ have gone on to great success.

Joanna now publishes her books independently and provides freelance editing services to fellow writers, published or unpublished. She is a Vice-President of the Romantic Novelists’ Association (RNA) and a partner in Libertà Books, which runs the libertabooks.com website and offers writing courses and workshops for all levels of experience. 
Her most recent Kindle ebook – His Silken Seduction, a Regency novella – is available from Amazon. 

Welcome Joanna! Tell us a little about your writing journey

I spent nine years being rejected by Mills & Boon. Encouraging rejections – keep trying, they said – but still no.

I visualised editors as gatekeepers, dividing manuscripts into reject and accept piles. I thought editors checked spelling and commas in manuscripts they’d accepted. How ignorant I was! Copy editors do that, plus facts, continuity, and much more.

pic2_champagne_poppingWhen M&B finally accepted me – partly thanks to the RNA’s New Writers’ Scheme – I discovered what editors do.

As my partner at Libertà Books, Sophie Weston, puts it, “the editor is the author’s first, best reader”.

So is what’s the difference between editing for traditionally published and self-published?
If you’re published by a traditional house, professional editing comes with the deal.
A self-published author pays her own freelance editor. Or does without.

I’m self-published now. I also freelance edit for other authors, like Alison Morton, my host here. (And very pleased I am with it – Joanna has done the structural editing for several of the Roma Nova books. My goodness, she has a sharp eye, and plenty of bracing, but 24 carat gold advice!)

So, do I act as editor for my own manuscripts?

No.

I pay a trusted freelance editor as my “first, best reader”, because I can’t be objective enough to edit my own MS. Because that’s not how editing works.

So how does editing work?
Let’s assume my client, Arabella Author, sends me her completed manuscript. It’s as good as she can make it. I don’t ask for a synopsis. I want to approach the story from cold, like a paying reader, going on a journey into the unknown with Arabella’s characters.

Paper and technology

Sometimes, I’m so carried away by Arabella’s story that I marvel. And I tell her so. Sometimes, a scene has less impact than it might have. Or maybe something jars me out of the story altogether – haven’t we all yelled at the TV when loose ends are left hanging?

Then, I may make comments like:

• I wasn’t convinced by this, because… [plot point that didn’t work for me, or motivations I found unclear, or loose ends not tied up, etc]
• As a reader, I was longing for more here about this character’s feelings / this relationship / this plot set-up / this location …
• I was confused here because…
• You lost me here, as a reader, when…
• As a reader, I felt that the story missed telling me about…

Arabella is too close to her MS to see these issues. Authors usually are. We know the background, characters, motivations – everything about everything, past and future. We can’t put ourselves in the position of a new reader, starting from zero.

That’s what the professional editor does. That’s why I don’t edit my own books.

What are the key editing principles?
As Arabella’s editor, I must avoid telling her what to write. It’s her book, not mine. As an engaged reader, I’ve identified an issue. Provided Arabella trusts me, I may tentatively suggest an outline approach (preferably with alternatives, so she doesn’t feel pushed in one particular direction).

Hand with fire isolated on black

My editor’s role is to fire Arabella’s imagination so she fixes the issue herself – provided she agrees it needs fixing, of course! – either by building on my prompts or by finding a whole new slant of her own. Often, Arabella finds a much better solution than anything I might have hinted at. And I cheer.

Oh, and I may also correct punctuation. My inner copy editor is a pest!

(Hahaha! No, really)

Thank you so much for stopping by, Joanna, and my warmest wishes for your editing services business. Your clients will be getting one of the best! 

Connect with Joanna  Website      Blog     Amazon author pages
Twitter  @joannamaitland @libertabooks    Facebook

pic9_liberta_logo_freedom_figure

Libertà Books

 

What’s Joanna’s latest book about?

pic8_his_silken_seduction_cover

Wounded. Abandoned. In the enemy’s bed.
He’s Wellington’s spy, trying to survive in war-torn France.
He has a choice – duty, or desire.

She’s his beautiful silk weaver. Day after day, her hands caress his battered flesh. Her touch is driving him wild.

But she’s the enemy. She must not discover who he is.
Surely she will betray him?

Will he dare to trust her with his life, his mission, and his heart?

Kindle ebook available from Amazon

 

Alison Morton is the author of Roma Nova thrillers, INCEPTIO, PERFIDITAS, SUCCESSIO and AURELIA. The fifth in the series, INSURRECTIO, was published in April 2016.

Find out more about Roma Nova, its origins, stories and heroines… Get INCEPTIO, the series starter, for FREE when you sign up to Alison’s free monthly email newsletter