Books in Slovenia

These two arrived recently—my first titles in Slovenian!

Don't Tempt Me

Your Scandalous Ways

Germany, Indonesia, Italy editions

Here are the latest arrivals from outside the U.S.

Germany-Your Scandalous Ways

Italy-Don't Tempt Me

Indonesia-Miss Wonderful

Your Scandalous Ways at a special price for August

This month, Avon is offering a dozen eBooks at a special price:  $1.99

One of these Sizzling Scandals books is mine:  Your Scandalous Ways.

You can find out more about the story here at Two Nerdy History Girls, and you can see many illustrations at my Pinterest board dedicated to the book.

 

Recent foreign editions

Just thought I'd share two covers from abroad that arrived recently, both for Your Scandalous Ways, my Venice-set book.

 I scanned the spine on this Czech version to show the way the cover art flows into it.  I wonder if this cover has appeared elsewhere:  Amid the flowery lace is written 92 Pino.  Does anyone remember seeing this picture before? 

 

And here's the German edition:

Books in France and Japan

One of the thrills of my job is seeing the foreign versions of my books.  Here are some that came in recently.  Here's what Miss Wonderful looks like in Japan:

 In France, here's Not Quite a Lady:

And Your Scandalous Ways:

Francesca's Tattoo

Fourth of July. U.S. Independence Day. I always wonder, What if King George III and his ministers had handled things differently? What if, over here, the pro-England side had prevailed over the dump-England side? What would we call ourselves? Maybe the U.S. and Canada would all be the same country. We wouldn’t be the U.S. Would we be Canada?

But what I wonder most is, Would Regency-era historical romances be as popular?

Since a great many of our readers are not in the U.S., I’m going to skip the Independence Day blog. Besides, I want to talk about tattoos.

In the course of my cybertour for Your Scandalous Ways, I’ve been asked more than once about Francesca’s tattoo. Readers emailed me about it, as well.

This was one of those topics I’d thought of addressing at some point in the story itself, but the right opportunity never appeared. This happens a lot. There are lots of little substories that don’t get told because it would disrupt the pacing to do so, and the topic doesn’t seem important enough for a detour...and I have only so much time to write a book as well as only so many pages.

So leaving out the story of Francesca’s tattoo was an artistic decision. It bothered me a little at first, but the more I thought about it, the less inclined I was to try to wedge it into the story. I figured this could be one of those “make up your own story” things. Like, “Make up your own story about what happens to Francesca and James after the end of the book.”

Let me start out by saying that anyone who wants to imagine Francesca has one of those henna tattoos that wear off after a few weeks should feel free to go on seeing it that way. It’s a great concept.

Here’s what was in my mind: Tattoos were unheard of among the upper classes in Francesca's day. Edward VII got one when he was Prince of Wales--but that was almost half a century later. Tattoos in Francesca’s time were not respectable, absolutely not for ladies. They were for sailors and criminals and savages. So one element of Francesca’s tattoo is shock value--and that’s clear in the scene at the opera. Even James, who’s seen it all, is shocked to see it. After all, she may be a courtesan, but she’s a lady by birth.

Where did she get it? By Francesca’s time there were professional tattoo artists in major ports, to accommodate the sailors. I imagined that by this time there must be at least one professional tattoo artist in big, cosmopolitan cities like London and Paris. I envisioned her getting her tattoo in Paris, as an act of defiance and a permanent symbol of her having turned her back on respectability.

I chose a serpent partly because of the Cleopatra-asp association. Both Byron and James Cordier associate Francesca's unusual looks with an Egyptian goddess or queen. I envisioned the kind of snakes one sees in Egyptian art and hieroglyphs. Too, given the tools available, a simpler tattoo, say, from a hieroglyph, seemed to make the most sense.
One reader suggested a Garden of Eden connection. That works well, too, given it’s her job to tempt men.
Another thing I considered was the pain and the risk. They used sewing needles and rubbed in the ink. I have no doubt it was a great deal more painful than today’s tattoos and of course the risk of infection was much higher...in a time when there were no antibiotics. Again, this says something about Francesca’s character, her inner toughness, her daring--and the ferocity of her anger with the world that rejected her and which she, symbolically, rejects when she gets her tattoo.

One reader asked why the tattoo doesn’t appear on the cover. Covers are painted long before the book is finished, and they're usually based on the story outline, rather than actual chapters. I did not mention the snake tattoo in the outline (one doesn't go into this much detail). The covers are meant to appeal to a broad audience, and Avon has done a great job, I think, in making my recent covers very beautiful and apt. I also suspect that, given the genre and the fact that not everyone likes tattoos, it would have been left out of the picture, even if I'd made prominent mention of it in the outline.

Originally posted at Word Wenches.

YOUR SCANDALOUS WAYS: The Interview Part Due

An Interview with Wench Loretta Chase
by Susan/Miranda

Welcome to the second part of our release-celebration-interview for Your Scandalous Ways by Wench Loretta Chase, NOW in stores! Today Loretta answers questions about Lord Byron, writing dangerous characters, and the magic of setting a story in Venice. If this still isn't enough about this marvelous book, check out Loretta's new YouTube clips. And please look for Your Scandalous Ways in bookstores everywhere.

Susan/Miranda: There’s a lot of your trademark humor in this book. Some of the bantering between James and Francesca is laugh-out-loud funny, even as it manages simultaneously to be very sexy. Yet this is, in many ways, a “dark” story. How did you decide to use humor the way you did?

Loretta: Completely dark isn’t me. I can go for only so long with a straight face. One thing--among so many--that I loved about writing this story was all the risqué jokes and double entendres the women as well as the men could indulge in. That’s part of my emphasis on giving Francesca tremendous joie de vivre--so that my readers as well as my hero could understand why men throw away fortunes on her.

Susan/Miranda: Lord Byron was another writer who fell in love with Venice, and of course he leaves his mark on YSW. In addition to being an acquaintance of Francesca’s, you’ve chosen to use quotes from his poems as subheads to each chapter. How did he influence you? How did you keep him from hijacking your book?

Loretta: Byron is--as he always was--about impossible to keep under control, even though he’s been dead for nearly 200 years. His voice is so powerful, it comes through even in the dullest biographies, and it simply vibrates in his letters and journals as well as his poetry. So I made him the Narrator, in a way. The Byron quotations help paint the picture and comment on the action and set the mood. I didn’t exactly channel him, but I found his work gave me a strong sense of place and time and a certain view of the characters.

Susan/Miranda: Gambling, drinking, masked identities, and general all-around excess in a fairy-tale environment made early 19th century Venice the equivalent of modern-day Vegas. Or, as Byron notes in one of your many quotations from Don Juan: “What men call gallantry, and gods adultery/Is much more common where the climate’s sultry.” Why are James and Francesca so at home in such a place?

Loretta: They’re both rebellious souls who prize their personal freedom. The cities of the Continent tended to be a little more tolerant of these characteristics than was London’s Beau Monde. Today, except in certain circles, a woman over 21 who’s had a lover or two or three doesn’t raise eyebrows. A divorced woman is not automatically deemed a ho. To an extent, this was the case in Continental Europe in Byron’s time. The upper classes there did the same as the English did--but some Europeans tended to be more open about it and more open-minded. In Venice, the most tolerant of cities, Francesca is simply a divorced woman. And if she has a lover who showers her with nice jewelry--well, then, so do other respectable women.

Susan/Miranda: Plasterwork putti make an intriguing appearance in Your Scandalous Ways. Would you like to discuss them further here for the WordWenches?

Loretta: We’ve all seen those children we call Cupids and cherubs. What I didn’t realize was how much property they covered--literally--in Venice. My model for certain rooms of Francesca’s house came from the Palazzo Albrizzi, whose plasterwork is famous. I loved it because, in a city abounding in gorgeous artistic excess, it was so totally over the top. The ballroom, which I adapted to become Francesca’s Putti Inferno, is described thus in Venetian Palazzi, “The ceiling is completely covered with a closely-folded velarium [basically, this looks like drapery] of stucco supported by twenty-eight winged putti and by four male figures arranged like caryatids at its four corners." Remember, these are not painted on. These are 3D figures in plaster. Here among the glittering folk you’ll find some pix of the palazzo, but not, alas, of the ballroom’s putti. Venetian Palazzi does have beautiful interiors, as do a number of other books on these palaces. Katherine Shaw's photos will give you an idea of these interiors.

Susan/Miranda: The palazzi in YSW are vividly described. Are they based on actual buildings in Venice, or a blending of real places with your imagination?

Loretta: In writing a story, I need a strong sense of place, which meant spending a lot of time looking at pictures of Venetian buildings. The houses in the book are based on real ones, but I might take a room from one and put it into another, or set it in another part of Venice. I kept the layout fairly simple, though, sticking to the basic floor plan shown in Lauritzen’s Palaces of Venice. The Palazzo Albrizzi and the Ca' Rezzonico (more pix here) were the ones I used most frequently but there are bits and pieces of several palazzi throughout the story. (There's more on this topic on my blog Your Palazzo or Mine.)

Susan/Miranda: It’s clear you had a lot of fun writing this book. Will you be returning to Venice any time soon for another? What are you working on now?

Loretta: I fell totally in love with the setting, the characters, and the language--so much so that I started taking Italian lessons. My new book, however, is set in England--or so it seems at the moment. It’s early days yet, and things change. All I can say for certain is that the heroine is another scandalous woman, and she’s going to make the hero’s life very interesting.

Originally posted at Word Wenches.

YOUR SCANDALOUS WAYS: The Interview Part Uno

An Interview with Loretta Chase
by Susan/Miranda
At last, at last! The book so many of us have been waiting for this spring is finally in stores NOW. Your Scandalous Ways by Wench Loretta Chase is already gathering a heady share of well-deserved praise, and there are plenty of people (myself included) who think it's Loretta's best since Lord of Scoundrels. To help get readers in the proper mood, Loretta reveals the Truth behind this extraordinary book -- or at least the Truth about James, Francesca, the influence of Venice, and all those plaster putti.
If you'd like to hear Loretta discuss this book via video (think along the exciting lines of "Garbo Speaks!"), please check out her new YouTube clips. And please be sure to join us for Part Two of the interview of Friday.
Also: Loretta will be giving away a signed copy of Your Scandalous Ways to a reader who posts on either half of the interview. Ask your questions now!
Susan/Miranda: Many of your previous books have been interconnected, but Your Scandalous Ways introduces a whole new set of characters to readers. What inspired you to create James and Francesca?
Loretta: Casino Royale was the spark. It made me think, “What about a 007 in the early 19th Century? I didn’t see Daniel Craig, though. I saw tall, dark, and handsome. And for some reason, I saw half-Italian. Once James Cordier took form, Francesca came instantly to life. The exotic looks--the elongated eyes, the wide mouth--came from a model in Brooks Brothers ads. The movie got Venice on my mind, too. I studied it, then Byron’s letters from his time there, and started thinking about English exiles and what they found there. Like Byron, Francesca has left England because of a major scandal. The scandal not only helped develop her character, but set the plot in motion--the thing that brings James into collision with her.
Susan/Miranda: Readers who remember Dain, the hero of Lord of Scoundrels, will love James Cordier, another “outsider” Englishman of unusual ancestry who chooses to live apart from polite society. Do you think these two gentlemen would enjoy each other’s company, and why or why not?
Loretta: Two extreme Alpha males, both with Italian blood? I think they’d stir each other’s competitive instincts in a big way. They’re such different men, it’s hard to imagine their having a conversation. And while they’re trying to decide whether or not to like each other, all the women in the vicinity are swooning from testosterone overdose.
Susan/Miranda: The city of Venice is almost another character in this book, and you do a wonderful job of catching the city’s mix of East and West, and its general other-worldliness. Yet you’ve chosen to set your story in an unusual era in Venetian history, after the fall of the Republic and well after the city’s glory-days. Why?
Loretta: Mainly because it’s the time period in which I usually set my stories *g*. But it’s still an interesting time. The glory days were centuries earlier. It’s always had problems with allies and enemies, disastrous wars, plagues, corruption, etc. At the end of the 18th Century Napoleon stomps in. That’s the end of the Republic of Venice, and it’s sad and awful.
By 1820, the time of my story, yes, people (especially foreigners) are nostalgic about the Republic (and let’s bear in mind this is the Romantic era) but Venice, like my heroine, is resilient. And like her, it’s fun. Though many of its riches have been plundered, so much remains. It’s still beautiful and mysterious and it’s still distinctively Venice--like no other city in the world. What Byron found there was a refuge. Old and wicked as it was, it was a place of renewal for him, a place where he wasn’t judged and where he began to do his best work. It enchanted him--and my characters--exactly as it does visitors today.
Susan/Miranda: Courtesans are trendy right now in historical romances, albeit courtesans who often turn out to be faux-courtesans for the sake of Polite Readers. However, Francesca Bonnard is the real thing, earning a tidy living in a city infamous at the time for being the “Brothel of Europe.” How did you create a love story for a courtesan?
Loretta: I thought of La Traviata, and my brain does what it usually does when contemplating a tragedy: It changed the characters and plot in a way to make a happy ending. I had in mind, too, Harriette Wilson, the famous courtesan of the Regency Era, and so I made my courtesan unrepentant, with a zest for life, and a bawdy sense of humor. (I ought to add that your Bad Barbara of Royal Harlot also inspired me.) Francesca has been left penniless and friendless. She’s become a courtesan to survive--but she does so on her own terms. She chooses the men who are to have the privilege of keeping her, and only a very, very few qualify. She’s exclusive and extremely expensive. What she needed, I thought, was a man who truly appreciated what she had to offer, who’d done enough not-so-nice things himself not to judge her and who was at the same time honorable enough to win her trust.
To be continued . . . .
Please join us Friday for the conclusion of this interview, and more delicious discussions with Loretta about Venice, courtesans, and Lord Byron.
Originally posted at Word Wenches.

Here today, gondola tomorrow

Didst ever see a Gondola? For fear
You should not, I’ll describe it to you exactly:
‘Tis a long cover’d boat that’s common here,
Carved at the prow, built lightly, but compactly;
Row’d by two rowers, each call’d ‘Gondolier,’
It glides along the water looking blackly,
Just like a coffin clapt in a canoe,
Where none can make out what you say or do.
(Lord Byron, Beppo)

Thus opens Chapter One of Your Scandalous Ways.

Thanks to all the screen adaptations of Jane Austen's work, most readers have some idea of what, say, an early 19th C carriage looks like. But the early 19th C gondola--the carriage of Venice, whose streets are mostly water--may not be quite so clear.
Since gondolas play a big role in Your Scandalous Ways--much as a carriage might in one of my English-set “road books”--I’m going to expand on Byron’s evocative and witty description. And, as always, I shall supply visual aids.

The first thing we modern readers need to get used to is the cabin or felze. People think of a gondola ride today as romantic, but the passengers are in public view. In the time of my story, the passengers were likely to be inside the felze. It would have a door, casement windows, Venetian blinds, and a cushy interior. (Katherine Shaw kindly sent me this photo. Please scroll down this page to see another.)

Thus Byron’s “coffin clapt in a canoe.” It was quite private--and yes, in Your Scandalous Ways, I take advantage of that privacy in more than one scene, as in this excerpt.

He needed desperately to be taught a lesson.
Unhurriedly she slid shut the casement beside her and closed the blinds. She reached across him, letting her bosom brush against his chest, and closed the window and blinds on his side.
As she moved back to her place, she felt his chest rise and fall a little faster than it had done a moment earlier.
She folded her hands in her lap. “There,” she said. “No one can see.”
“There won’t be anything to see,” he said.
“We’ll see,” she said.

Today, a gondola ride is an expensive luxury, reserved mainly for tourists. It's faster and much cheaper (and noisier) to board one of the water taxis or buses. In Byron’s time the gondolas
were everywhere. Picture these black vessels with their little cabins, like black taxicabs, converging on a theater. “And round the theatres, a sable throng,” as Byron puts it.

Here's a recent view of the rear of La Fenice opera house, where Francesca's gondola would be waiting to collect her after the performance. Below it is a (mid?) 19th C view.

"After midnight, when the theaters let out and the parties began, the lights of hundreds of gondolas danced over the canals and candlelight twinkled in the windows of the palaces. Here, where no coach wheels and horses’ hooves clattered over pavement, one moved in a quiet punctuated only by voices. Carried over the water, conversations ebbed and flowed around her, as though in a great drawing room."

And no, the gondoliers did not then wear the straw hats with the ribbons and they did not sing.

In the time of my story, one would glide along in the vessel in a quiet world. As Lord Byron's friend Hobhouse wrote, “during the night a profound stillness reigns though the canals and streets, interrupted only by the warning cry of the gondoliers, and the drop of their paddles, or by the tinkling of some solitary guitar."

Research is the closest I can come to time travel. The challenge is to make my hero and heroine’s surroundings vivid in the reader’s mind without letting it intrude. I don’t spend pages going into all the details of gondolas. And I cannot illustrate my books. That's where blogs come in so handy.

Originally posted at Word Wenches.

Your palazzo or mine?

In response to readers who encouraged me to discuss the settings and other background material of Your Scandalous Ways, today we're taking a house tour.

“Ah, Venice,” James said as he took in the view--such as it was--in front of and behind him. The buildings and gondolas were merely darker shapes in the grey haze. “A fine place, indeed, but for the damp.”

I don’t know about the rest of you but I didn’t, really, know all that much about Venice before I embarked on Your Scandalous Ways. Casino Royale inspired my British agent hero. "Hmm,” I said to myself. “What would 007 be like in the early 19th century?” The film inspired my setting, too. Those climactic scenes in Venice awakened my curiousity.
I did not realize, for one thing, that Venice was built on a bunch of islands in a marshy lagoon.
Originally, it was where people from the mainland fled when the barbarians attacked in the 5th and 6th centuries A.D. It was a safe haven because the lagoon was very dangerous and tricky to navigate. After a while, they quit going back to the mainland and started building. How they built is the miracle of Venice.

“All this, on top of water,” Sedgewick said, shaking his head as he looked about him. “What sort of people is it, I wonder, goes and builds a city on stilts on a swampy lot of islands?”
“Italians,” said James. “There’s a reason they once ruled the world, and a reason Venice once ruled the seas. You must at least give credit for a marvel of engineering.”

Here's a view of the Grand Canal and some of the case (houses) or palazzi (palaces). You’ll find “ca” and “palazzo” used interchangeably. Until the fall of the Republic (i.e., when Venice surrendered to Napoleon in 1797), only the Ducal Palace (that building to the right in the painting above this one) could be a palazzo. All other houses, no matter how grand, were simply houses, case. Afterward, the restriction went away. And so the same house might be a “ca” in one book and a "palazzo" in another.
These magnificent structures were indeed built on stilts packed close together. From my Eyewitness Travel Guide to Venice & the Veneto: “Pinewood piles were driven...25 feet...into the ground....They rested on the solid caranto (compressed clay) layer at the bottom of the lagoon.” On top of these were laid layers of brick and stone. The foundations were of Istrian marble, which resists damp. This book has some wonderful cutaway illustrations that are well worth a thousand words. But one need only look at the buildings and consider how much labor was involved--not to mention ingenuity--to appreciate the accomplishment.

They followed Zeggio up a staircase to the piano nobile, and found themselves in a vast central hall. This portego, as the Venetians called it, ran from one end of the house to the other.
It was clearly designed for show. The line of magnificent chandeliers down the center of the ceiling and rows of immense candelabra standing on tables along the wall--all dripping the famously magnificent glass work of Murano--would, when fully lit, have made a dazzling display of the gilt, the plaster ornamenting the walls, the sculpture, the paintings.

Here for your delectation are lots of pictures of Venetian palazzi.
Getting pictures of the exteriors was easy. Finding interiors was another matter--and for Your Scandalous Ways, it does matter, since many of the scenes are...um..intimate. Happily one of the Wench readers suggested Venetian Palazzi (ISBN 3-8228-7050-1--that's the English edition), which offers the proverbial visual feast. Copyright prevents my sharing those images with you, but there is some material online.
Here's one of the many internet sites I perused in the course of my research. This "Ceremonial Stair" in the Ca' Rezzonico is a fine example of the magnificent interiors. This site provides a floor plan of the Ca’ Rezzonico, too.
Virtually all Venetian palazzi have the same basic layout. A great hall runs from the side of the house facing the canal to the side facing land, usually overlooking a courtyard. The hall on the ground floor is the andron. The one on the main public floor or piano nobile, is called the portego. Rooms extend from either side of these central halls. Some buildings have interior staircases and some have exterior ones. Sometimes the building was extended to surround the courtyard. Side rooms open into other side rooms. But if you keep in mind that big central hall running from the front to the back of the house, and doors leading into rooms on both sides, you’ve got the general picture.
This shows the floor plan of the Ca’ Mocenigo, where Lord Byron lived, and the picture is of the poet at his leisure in his humble abode.
You can picture my hero James Cordier in a room like this, though he’s more likely to be gazing out of a window at Francesca’s palazzo across the canal than lounging on a sofa.

That brings us to the end of today's tour. Don't forget to tip the guide on the way out.

Originally posted at Word Wenches.