Transportation and how it has changed through the decades—Tricia McGill

 

Find this and all my books here on my Author pagehttps://bookswelove.net/mcgill-tricia/

Here I am again deep into research about certain aspects of the 1800s, especially Australia in the 1860s, and because of seeking a particular type of horse-drawn vehicle I became engrossed by the differing means of transport throughout the years and how it has changed. I grew up in North London, so our travelling from one destination to another was by the underground (what we called the ‘Tube’) or a good old double decker bus. I regularly used the underground and to this

day in my dreams where I often seem to be lost, I follow my mother’s advice
and search for the nearest tube station to find my way home. People who study the meaning of dreams no doubt have an explanation for that, but that’s something for another day.

In Book One of my Settlers Series, Mystic Mountains, I had my characters making the horrendous journey from Sydney to Bathurst in 1823 across what became known as the Blue Mountains, a journey that would take weeks instead of hours as today. At that time bullocks pulled the drays carrying the settlers’ belongings as well as the wool bales among other things. Of course horses went along on this journey, but the oxen were more sure-footed and reliable across rocky and unsafe territory.  

Horses pulled the various types of carriage, whether it be a two wheeled cart or a four wheeled carriage. The mail was delivered between colonies first by a horse rider and later by the mail coach, perhaps sometimes more reliable than the current postal deliveries. A man who was a’ courting would likely drive a one-horse jig or cart, its rate of splendidness depending on the owners standing in the society.

My mother was born before 1900 so would recall the horse drawn buses in London. I often wonder how she would cope with the traffic in this modern day and age. I find it depressing at times. Everyone is in such a hurry as they rush around in their huge four-wheel-drive vehicles which would have certainly made life a lot easier for the early settlers as they set out across unchartered territory. She hated motorbikes and it worked out that two of my early boyfriends owned one. Her warning as I left home to go jaunting with them was to ensure they did not speed while I was riding pillion.

I think I would have probably been better suited to those far off days, or perhaps not. No running water—especially hot when needed, would not sit well with me, or no proper sewerage system. But I could certainly cope with the idea of riding or driving a small buggy to the nearest store. In this current climate with the rising cost of fuel, who knows, perhaps we will eventually regress and return to horse transport.

Visit Tricia McGill website for excerpts etc.

Alpha-minus, Beta-plus Heroes

https://bookswelove.net/martin-paula/

Alpha-minus, Beta-plus Heroes

We’ve all read the ‘romance’ novels where the domineering alpha hero forces himself on to the weak/innocent/naïve heroine, but she still falls in love with him and/or somehow 'tames' him. Personally, I’d kick him where it hurts. The extreme Alpha man is often portrayed as Mr. Machismo, an abrasive, ruthless, overbearing jerk. Maybe it’s what some women fantasize about, but it leaves me cold. An ‘Alpha-plus’ man like this is more likely to be the villain in my story, not the hero.

With all the emphasis on Alpha men, the Beta man has got a bad rap. I’ve seen him described as “an unremarkable, careful man who avoids confrontation, and who lacks the physical presence, charisma, and confidence of the alpha man.” He can come over as a boring Mr. Nice Guy. Carried to its extreme, i.e. the ‘Beta-minus’ level, he is an unremarkable, passive, non-confrontational wimp. 

Hardly the kind of hero for a romantic novel, you might think. But think again!

How about a combination of both Alpha and Beta?  The man who combines the best qualities of both and loses the worst? He’s what I like to call the Alpha-minus, Beta-plus hero.

Alpha-plus loses his macho arrogance and egomaniacal behaviour to become Alpha-minus. He retains his strength, charisma and a self-confidence which is respected, not intimidating. He seeks a mate who is his equal, not one he can dominate.

At the same time, Beta-minus loses his reticence and passiveness and climbs up the scale to Beta-plus, retaining his sensitivity, his loyalty, and his compassion. 

To my mind, an Alpha-Beta man represents a more rounded idea of what masculinity is really all about. He rejects the all-conquering, competitive model of the Alpha because he is secure in his own strengths. He isn’t threatened by intelligent and/or strong women because he doesn’t have to be in control of every situation to maintain his sense of self. He isn’t abrasive, ruthless, or overbearing. Instead, he exudes a quiet self-assurance that has its own charismatic appeal. His so-called ‘introverted character’ may in fact indicate a thoughtful and capable man. He doesn’t see compassion or sensitivity as weaknesses, and he has the character traits which, in my opinion, women really admire – intelligence, honesty, and faithfulness.

With the Alpha minus/Beta plus man, we get the best of both worlds – strength combined with sensitivity. John Hughes, the 'hero' of my novel 'A Family's Secrets' is that kind of man. Mature and self-confident, especially in his role of captain of a steamship, he's nevetheless aware of his own faults. He may keep a tight grip on his emotions at times, but deep down his feelings can be intense, whether they be joy or grief. He also recognises and admires Betsy's strength of character, while at the same time being there to defend or protect her when necessary.  

What is your ideal 'hero' in a novel? 

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My First and Only Stage Play By Joan Donaldson-Yarmey

 

 

 https://www.bookswelove.com/donaldson-yarmey-joan/

Over my writing career I have written non fiction travel books, and mystery, historical, and holiday romance novels. One year, after taking a two day, play writing course, I wrote a stage play. I entered my play in the Fringe held in the small town where I lived. It was accepted and then came the hard part: finding actors and props, producing, and directing it.

      I needed a male and a female lead actor and I asked two people who had been in plays in our local theatre before. They agreed and I gave them each a copy of the play. We met and had a run through with us discussing how we each saw the characters. Their interpretation of their character's actions and attitude were sometimes different from mine, but, other than a few places where I felt a certain delivery was needed, I let them decide how to play the part. Through our many rehearsals with the props, which my husband, Mike, was in charge of, the characters evolved and took shape as we discovered better ways for them move, react, and relate.

      I also needed actors for a party scene and I approached people I knew and/or worked with in my quest. Even though I told them that they would only be on stage for less than five minutes, that all they had to do was listen to the male actor beak off about how good he was, and that they had no lines, many gave a flat no, explaining that they could never get up on stage in front of an audience. Some agreed so I gave them the times of our next two rehearsals. Most of them never showed up. I kept asking people: my cats' vet, the owner of a new store in town, the person who donated some props. But I only had the same two people show up for any of the rehearsals and it looked like Mike and I would be making our acting debut. I was beginning to worry. Maybe I would have to drag up some of the audience members.

      On the evening of the first presentation, two of the three who had attended rehearsals, two actors in another play and I made up the attendees of the party. For the Saturday matinee the partiers were, one of my three regulars along with two members of my dragon boat team, the two actors from the other play, a theatre volunteer, and myself.

      One thing I did learn was that for something like the Fringe where plays are being presented one after the other, having a lot of props is not a good idea. Because I was showing a story instead of telling a story, I had over forty props, some large ones being: fridge, stove, desk, computer, sewing machine, two chairs, table; smaller ones being: duster, broom, envelope, paper, boxes, material, pens, wine bottle and glasses, and many more. The play after me had only two tables, two chairs, a laundry basket and some beer bottles. Another play I watched had some tea cups and teddy bears.

      On the first evening there were going to be four separate plays, mine being the first. That was perfect because it gave us time to set up our scene. However, at the end, we had to get our props off stage so that the next play could set theirs up before their showing. Our actors became stage hands and things disappeared in a hurry. The same happened on Saturday afternoon.

      The important thing I learned was that while I had written the words, I was at the mercy of the actors to show up for the rehearsals, learn their lines, and speak those words on stage. My female lead was off book (I did get to know some of the lingo) quickly, but the male lead found it harder to remember his lines. He also missed some of the rehearsals.

      Putting on a stage play isn't like making a movie. You don't get to go back and redo a scene. When asked, the way I put it is, opening night did not go as rehearsed. To be honest, it wasn't even close. The male character kept forgetting his lines or changing them which threw the female character off, as well as the lighting guy and Mike who had to operate a smoke machine.

     The Saturday afternoon presentation went better. He still missed many of his lines but the audience laughed when they were supposed to and they understood, and laughed at, the twisted ending. I was elated and hearing that laughter made the whole process worthwhile. And I do believe I will try another play for next year, but I will keep the props to a minimum and have the actors tell the story instead of show the story.

      While there were many mishaps and problems getting my play to the stage, the most memorable is about our wine bottle. We needed a wine bottle for the opening scene, so I rinsed one out and filled it with water. We used it for our first on stage rehearsal and left it along with our other props for our full dress rehearsal the next evening. When I went to find it for that rehearsal, it was gone. We searched everywhere and couldn’t find it, so we used a beer bottle in its place. We laughed and hoped that the person hadn't decided to take it as a hostess gift to some fancy dinner. I found another wine bottle for our opening night. At the end of the evening I discovered our first bottle by the back door, empty. That person must have thought it was the weakest, worst tasting wine ever made.

Writing Phoebe Fisher by Victoria Chatham

 

COMING IN JUNE 2022

 

I think most authors have a favourite book, hero or heroine, amongst the books they write. I would have said my first heroine, Emmaline Devereux (His Dark Enchantress), was my favourite, with her sister-in-law Juliana Clifton (His Ocean Vixen) a close second. Now, I think my latest heroine, Phoebe Fisher, has topped the lot.

When I first had the concept for my series, Those Regency Belles, I wanted characters who were young ladies but not necessarily titled. Hester Dymock (Book 1) did marry a lord and so became a lady, Charlotte Gray (Book 2) accepted a proposal from the gentleman in her life, and Phoebe Fisher, an educated farmer’s daughter, becomes a lady in her story.

Right from the beginning, Phoebe, as had Julian Clifton when I was writing His Dark Enchantress, kept intruding in the writing of Hester and Charlotte’s stories. If I hadn’t already had plans for her, I would have had to come up with something, so insistent was she to be on the page. Phoebe, having no pretensions, quite sound common sense, and giggling a lot was fun, right from the beginning. She was also quite a little flirt in an honest-to-goodness way.

I set the story in my home county of Gloucestershire, in England, and thought I knew its history well. In researching several themes to make sure I had my facts right, I came across other snippets of history and information that I thought might be fun to include. Other facts came from books I read and internet searches, although that can be a dangerous route to take as one fact often leads to another and then it becomes like Forrest Gump’s box of chocolates – which one do you pick? One I could not let go of was the exhibition of animals from the Royal Menagerie held in Well Walk, Cheltenham, on June 12^th, 1812. What animals were exhibited? You'll have to read the book to find out!

I also found that catalogue shopping for their homes was something applicable to both the Georgian and Regency eras. How about this hand-dyed leather chair and

 

Persian silk rug? Both appear in my story.

Phoebe Fisher will be released in June, 2022. I hope you enjoy reading her story as much as I enjoyed writing it.

Victoria Chatham

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Book signings and "colorful" readers

 Book signing events are the lifeblood of an author. If we're not out among our readers, talking about and signing, our books languish on dusty shelves, unread and unloved. I go to bookstores, libraries, grocery stores, etc. Each setting brings its own set of readers and colorful people. As my wife once said, "We meet the nicest people at book events."

For the most part, that's true. Most of the people are well-read, interesting, and interested. We have wonderful discussions about the book, the plot, the characters, and what readers would like to see in future books. It's fun and invigorating.

Then there are the other encounters. The ones that left me...unsure of just what had transpired. At an event in Superior, Wisconsin at woman confronted me, yelling that I'd stolen the title of HER book. She proclaimed that she was going to sue me and make me recover and destroy all the books I'd sold. After the woman left, the bookstore's proprietor walked over and said, "I think I'm glad she didn't have a gun." Luckily, that incident has never been repeated.

I once asked a woman what she'd like me to inscribe in her book. Her response, "Oh, I don't know. You come up with something." Since I write mysteries, I thought it would be clever to write, "To ____, a mysterious woman."  The woman read the inscription and tears filled her eyes. "You can see right into my soul." I was stunned and replied. "No, not really. I just use that inscription on all my books." She clutched the book to her chest and thanked me. I resolved to NEVER use that inscription again.

People often tell me they're thinking about writing a book and ask for hints. One woman, accompanied by a man with a wild "Albert Einstein" hairdo, asked for tips on writing dialogue. I told her that as I write, the characters often speak to me, directing the dialogue and story. With those words, the man, who'd been silently listening, perked up and said, "I hear voices too. Sometimes they tell me to do bad things." The woman apologized and quickly bundled the man away. There is probably a plot there...

A woman at a book club (I've discovered the book club is often a euphemism for drinking group) button-holed me. "I like your main character and the evolving sexual tension between him and a female character. Here's what's going to happen in your next book..." I was delighted that she was so engaged with the characters that she wanted their evolving relationship to be included in the next book but was taken aback by her firm, detailed view on exactly how their romance was going to progress. 

Most recently, one of my consultants and a beta reader, sent me an email after reading part of Gator Bait. "My stepson is a Florida cop, and the ranger you've created is exactly like his former partner." She went on to fill me in on the former partner's quirks and foibles, adding to the realism and texture of the character. Her guidance was so successful that she later sent me a follow-up email. Unaware of his daughter's input, her father commented, in salty terms, just how perfectly distasteful that character was.

On another positive note, a woman interrupted my discussion of a recent library signing, announcing that she had to depart for another event. "I'm the high school English teacher, and there are a couple things I need to tell you about this book." At that point mental alarms started sounding. Thoughts of dangling participles and misplaced commas bounced around my head. I smiled and let her proceed. "You've done a great job of creating relatable characters. But more than that, you took the time to tie off every loose plot thread. That's truly rare, and a gift to the reader who doesn't have to wonder how those subplots were resolved. Thank you."

Yes, there have been a few uncomfortable encounters, but the fun and interesting events far outweigh the negative. I look forward to every event, blissfully unaware of who I'll meet and what they might share.

Many thanks are owed to the BWL Publishing editors who've helped me write the best possible books. I appreciate their input, along with the assistance of my "family" of beta readers, proofreaders, and media experts.

Check out my books at:

www.bookswelove.net/hovey-dean/