Podcasts about regency

Last time, we discussed the first part of Georgiana's life. This time, we get into all the illegitimate children of it all, with bonus visits to Revolution-era Paris and also Earl Grey tea time. With special guest, royal commentator Amanda Matta (matta_of_fact on social media). ⁠Watch this episode as a video.⁠⁠ Support the fundraiser for Minnesota Georgiana, Anne Damer, and Elizabeth Lamb's witch portrait Shop at Teapothecary Tea — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

A few months ago, Puerto Rican rapper Bad Bunny guest hosted an episode of “Saturday Night Live” where he appeared in a skit as a Spanish nobleman from the Middle Ages wearing an inky blue robe with gold threading on the collar and sleeves. The costume he wore didn’t come from the show’s wardrobe department. Instead, it was shipped overnight by the Oregon Shakespeare Festival Costume Rentals department in Talent.    As profiled in a recent article in Oregon ArtsWatch, for more than 20 years, OSF Costume Rentals has been making costumes and accessories that were created for its productions available to rent by local theater companies, academic institutions, film and photo shoots and TV shows like “SNL.” The vast digital inventory is searchable online and spans more than 30,000 costumes and accessories, from elaborate Elizabethan gowns and silky Regency dresses to velour smoking jackets and butterfly-collared shirts.    OSF Costume Rentals supervisor Celina Gigliello-Pretto and OSF Director of Productions Malia Argüello share how OSF is preserving its costumes and helping other productions reimagine their possibilities.  

How can indie authors raise their game through academic-style rigour? How might AI tools fit into a thoughtful research process without replacing the joy of discovery? Melissa Addey explores the intersection of scholarly discipline, creative writing, and the practical realities of building an author career. In the intro, mystery and thriller tropes [Wish I'd Known Then]; The differences between trad and indie in 2026 [Productive Indie Fiction Writer]; Five phases of an author business [Becca Syme]; Bones of the Deep – J.F. Penn; Today's show is sponsored by Bookfunnel, the essential tool for your author business. Whether it's delivering your reader magnet, sending out advanced copies of your book, handing out ebooks at a conference, or fulfilling your digital sales to readers, BookFunnel does it all. Check it out at bookfunnel.com/thecreativepenn This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Making the leap from a corporate career to full-time writing with a young family Why Melissa pursued a PhD in creative writing and how it fuelled her author business What indie authors can learn from academic rigour when researching historical fiction The problems with academic publishing—pricing, accessibility, and creative restrictions Organising research notes, avoiding accidental plagiarism, and knowing when to stop researching Using AI tools effectively as part of the research process without losing your unique voice You can find Melissa at MelissaAddey.com. Transcript of the interview with Melissa Addey JOANNA: Melissa Addey is an award-winning historical fiction author with a PhD in creative writing from the University of Surrey. She was the Leverhulme Trust Writer in Residence at the British Library, and now works as campaigns lead for the Alliance of Independent Authors. Welcome back to the show, Melissa. MELISSA: Hello. Thank you for having me. JOANNA: It's great to have you back. You were on almost a decade ago, in December 2016, talking about merchandising for authors. That is really a long time ago. So tell us a bit more about you and how you got into writing and self-publishing. MELISSA: I had a regular job in business and I was writing on the side. I did a couple of writing courses, and then I started trying to get published, and that took seven years of jumping through hoops. There didn't seem to be much progress. At some point, I very nearly had a small publisher, but we clashed over the cover because there was a really quite hideous suggestion that was not going to work. I think by that point I was really tired of jumping through hoops, really trying to play the game traditional publishing-wise. I just went, you know what? I've had enough now. I've done everything that was asked of me and it's still not working. I'll just go my own way. I think at the time that would've been 2015-ish. Suddenly, self-publishing was around more. I could see people and hear people talking about it, and I thought, okay, let's read everything there is to know about this. I had a little baby at the time and I would literally print off stuff during the day to read—probably loads of your stuff—and read it at two o'clock in the morning breastfeeding babies. Then I'd go, okay, I think I understand that bit now, I'll understand the next bit, and so on. So I got into self-publishing and I really, really enjoyed it. I've been doing it ever since. I'm now up to 20 books in the last 10 or 11 years. As you say, I did the creative writing PhD along the way, working with ALLi and doing workshops for others—mixing and matching lots of different things. I really enjoy it. JOANNA: You mentioned you had a job before in business. Are you full-time in all these roles that you're doing now, or do you still have that job? MELISSA: No, I'm full-time now. I only do writing-related things. I left that in 2015, so I took a jump. I was on maternity leave and I started applying for jobs to go back to, and I suddenly felt like, oh, I really don't want to. I want to do the writing. I thought, I've got about one year's worth of savings. I could try and do the jump. I remember saying to my husband, “Do you think it would be possible if I tried to do the jump? Would that be okay?” There was this very long pause while he thought about it. But the longer the pause went on, the more I was thinking, ooh, he didn't say no, that is out of the question, financially we can't do that. I thought, ooh, it's going to work. So I did the jump. JOANNA: That's great. I did something similar and took a massive pay cut and downsized and everything back in the day. Having a supportive partner is so important. The other thing I did—and I wonder if you did too—I said to Jonathan, my husband, if within a year this is not going in a positive direction, then I'll get another job. How long did you think you would leave it before you just gave up? And how did that go? Because that beginning is so difficult, especially with a new baby. MELISSA: I thought, well, I'm at home anyway, so I do have more time than if I was in a full-time job. The baby sleeps sometimes—if you're lucky—so there are little gaps where you could really get into it. I had a year of savings/maternity pay going on, so I thought I've got a year. And the funny thing that happened was within a few months, I went back to my husband and I was like, I don't understand. I said, all these doors are opening—they weren't massive, but they were doors opening. I said, but I've wanted to be a writer for a long time and none of these doors have opened before. He said, “Well, it's because you really committed. It's because you jumped. And when you jump, sometimes the universe is on board and goes, yes, all right then, and opens some doors for you.” It really felt like that. Even little things—like Writing Magazine gave me a little slot to do an online writer-in-residence thing. Just little doors opened that felt like you were getting a nod, like, yes, come on then, try. Then the PhD was part of that. I applied to do that and it came with a studentship, which meant I had three years of funding coming in. That was one of the biggest creative gifts that's ever been given to me—three years of knowing you've got enough money coming in that you can just try and make it work. By the time that finished, the royalties had taken over from the studentship. That was such a gift. JOANNA: A couple of things there. I've got to ask about that funding. You're saying it was a gift, but that money didn't just magically appear. You worked really hard to get that funding, I presume. MELISSA: I did, yes. You do have to do the work for it, just to be clear. My sister had done a PhD in an entirely different subject. She said, “You should do a PhD in creative writing.” I said, “That'd be ridiculous. Nobody is going to fund that. Who's going to fund that?” She said, “Oh, they might. Try.” So I tried, and the deadline was something stupid like two weeks away. I tried and I got shortlisted, but I didn't get it. I thought, ah, but I got shortlisted with only two weeks to try. I'll try again next year then. So then I tried again the next year and that's when I got it. It does take work. You have to put in quite a lot of effort to make your case. But it's a very joyful thing if you get one. JOANNA: So let's go to the bigger question: why do a PhD in creative writing? Let's be clear to everyone—you don't need even a bachelor's degree to be a successful author. Stephen King is a great example of someone who isn't particularly educated in terms of degrees. He talks about writing his first book while working at a laundry. You can be very successful with no formal education. So why did you want to do a PhD? What drew you to academic research? MELISSA: Absolutely. I would briefly say, I often meet people who feel they must do a qualification before they're allowed to write. I say, do it if you'd like to, but you don't have to. You could just practise the writing. I fully agree with that. It was a combination of things. I do actually like studying. I do actually enjoy the research—that's why I do historical research. I like that kind of work. So that's one element. Another element was the funding. I thought, if I get that funding, I've got three years to build up a back catalogue of books, to build up the writing. It will give me more time. So that was a very practical financial issue. Also, children. My children were very little. I had a three-year-old and a baby, and everybody went, “Are you insane? Doing a PhD with a three-year-old and a baby?” But the thing about three-year-olds and babies is they're quite intellectually boring. Emotionally, very engaging—on a number of levels, good, bad, whatever—but they're not very intellectually stimulating. You're at home all day with two small children who think that hide and seek is the highlight of intellectual difficulty because they've hidden behind the curtains and they're shuffling and giggling. I felt I needed something else. I needed something for me that would be interesting. I've always enjoyed passing on knowledge. I've always enjoyed teaching people, workshops, in whatever field I was in. I thought, if I want to do that for writing at some point, it will sound more important if I've done a PhD. Not that you need that to explain how to do writing to someone if you do a lot of writing. But there were all these different elements that came together. JOANNA: So to summarise: you enjoy the research, it's an intellectual challenge, you've got the funding, and there is something around authority. In terms of a PhD—and just for listeners, I'm doing a master's at the moment in death, religion, and culture. MELISSA: Your topic sounds fascinating. JOANNA: It is interesting because, same as you, I enjoy research. Both of us love research as part of our fiction process and our nonfiction. I'm also enjoying the intellectual challenge, and I've also considered this idea of authority in an age of AI when it is increasingly easy to generate books—let's just say it, it's easy to generate books. So I was like, well, how do I look at this in a more authoritative way? I wanted to talk to you because even just a few months back into it—and I haven't done an academic qualification for like two decades—it struck me that the academic rigour is so different. What lessons can indie authors learn from this kind of academic rigour? What do you think of in terms of the rigour and what can we learn? MELISSA: I think there are a number of things. First of all, really making sure that you are going to the quality sources for things—the original sources, the high-quality versions of things. Not secondhand, but going back to those primary sources. Not “somebody said that somebody said something.” Well, let's go back to the original. Have a look at that, because you get a lot from that. I think you immerse yourself more deeply. Someone can tell you, “This is how they spoke in the 1800s.” If you go and read something that was written in the 1800s, you get a better sense of that than just reading a dictionary of slang that's been collated for you by somebody else. So I think that immerses you more deeply. Really sticking with that till you've found interesting things that spark creativity in you. I've seen people say, “I used to do all the historical research. Nowadays I just fact-check. I write what I want to write and I fact-check.” I think, well, that's okay, but you won't find the weird little things. I tend to call it “the footnotes of history.” You won't find the weird little things that really make something come alive, that really make a time and a place come alive. I've got a scene in one of my Regency romances—which actually I think are less full of historical emphasis than some of my other work—where a man gives a woman a gift. It's supposed to be a romantic gift and maybe slightly sensual. He could have given her a fan and I could have fact-checked and gone, “Are there fans? Yes, there are fans. Do they have pretty romantic poems on them? Yes, they do. Okay, that'll do.” Actually, if you go round and do more research than that, you discover they had things like ribbons that held up your stockings, on which they wrote quite smutty things in embroidery. That's a much more sexy and interesting gift to give in that scene. But you don't find that unless you go doing a bit of research. If I just fact-check, I'm not going to find that because it would never have occurred to me to fact-check it in the first place. JOANNA: I totally agree with you. One of the wonderful things about research—and I also like going to places—is you might be somewhere and see something that gives you an idea you never, ever would have found in a book or any other way. I used to call it “the serendipity of the stacks” in the physical library. You go looking for a particular book and then you're in that part of the shelf and you find several other books that you never would have looked for. I think it's encouraging people, as you're saying, but I also think you have to love it. MELISSA: Yes. I think some people find it a bit of a grind, or they're frightened by it and they think, “Have I done enough?” JOANNA: Mm-hmm. MELISSA: I get asked that a lot when I talk about writing historical fiction. People go, “But when do I stop? How do I know it's enough? How do I know there wasn't another book that would have been the book? Everyone will go, ‘Oh, how did you not read such-and-such?'” I always say there are two ways of finding out when you can stop. One is when you get to the bibliographies, you look through and you go, “Yep, read that, read that, read that. Nah, I know that one's not really what I wanted.” You're familiar with those bibliographies in a way that at the beginning you're not. At the beginning, every single bibliography, you haven't read any of it. So that's quite a good way of knowing when to stop. The other way is: can you write ordinary, everyday life? I don't start writing a book till I can write everyday life in that historical era without notes. I will obviously have notes if I'm doing a wedding or a funeral or a really specific battle or something. Everyday life, I need to be able to just write that out of my own head. You need to be confident enough to do that. JOANNA: One of the other problems I've heard from academics—people who've really come out of academia and want to write something more pop, even if it's pop nonfiction or fiction—they're also really struggling. It is a different game, isn't it? For people who might be immersed in academia, how can they release themselves into doing something like self-publishing? Because there's still a lot of stigma within academia. MELISSA: You're going to get me on the academic publishing rant now. I think academic publishing is horrendous. Academics are very badly treated. I know quite a lot of academics and they have to do all the work. Nobody's helping them with indexing or anything like that. The publisher will say things like, “Well, could you just cut 10,000 words out of that?” Just because of size. Out of somebody's argument that they're making over a whole work. No consideration for that. The royalties are basically zilch. I've seen people's royalty statements come in, and the way they price the books is insane. They'll price a book at 70 pounds. I actually want that book for my research and I'm hesitating because I can't be buying all of them at that price. That's ridiculous. I've got people who are friends or family who bring out a book, and I'm like, well, I would gladly buy your book and read it. It's priced crazy. It's priced only for institutions. I think actually, if academia was written a little more clearly and open to the lay person—which if you are good at your work, you should be able to do—and priced a bit more in line with other books, that would maybe open up people to reading more academia. You wouldn't have to make it “pop” as you say. I quite like pop nonfiction. But I don't think there would have to be such a gulf between those two. I think you could make academic work more readable generally. I read someone's thesis recently and they'd made a point at the beginning of saying—I can't remember who it was—that so-and-so academic's point of view was that it should be readable and they should be writing accordingly. I thought, wow, I really admired her for doing that. Next time I'm doing something like that, I should be putting that at the front as well. But the fact that she had to explain that at the beginning… It wasn't like words of one syllable throughout the whole thing. I thought it was a very quality piece of writing, but it was perfectly readable to someone who didn't know about the topic. JOANNA: I might have to get that name from you because I've got an essay on the Philosophy of Death. And as you can imagine, there's a heck of a lot of big words. MELISSA: I know. I've done a PhD, but I still used to tense up a little bit thinking they're going to pounce on me. They're going to say that I didn't talk academic enough, I didn't sound fancy enough. That's not what it should be about, really. In a way, you are locking people out of knowledge, and given that most academics are paid for by public funds, that knowledge really ought to be a little more publicly accessible. JOANNA: I agree on the book price. I'm also buying books for my course that aren't in the library. Some of them might be 70 pounds for the ebook, let alone the print book. What that means is that I end up looking for secondhand books, when of course the money doesn't go to the author or the publisher. The other thing that happens is it encourages piracy. There are people who openly talk about using pirate sites for academic works because it's just too expensive. If I'm buying 20 books for my home library, I can't be spending that kind of money. Why is it so bad? Why is it not being reinvented, especially as we have done with indie authors for the wider genres? Has this at all moved into academia? MELISSA: I think within academia there's a fear because there's the peer reviews and it must be proven to be absolutely correct and agreed upon by everybody. I get that. You don't want some complete rubbish in there. I do think there's space to come up with a different system where you could say, “So-and-so is professor of whatever at such-and-such a university. I imagine what they have to say might be interesting and well-researched.” You could have some sort of kite mark. You could have something that then allows for self-publishing to take over a bit. I do just think their system is really, really poor. They get really reined in on what they're allowed to write about. Alison Baverstock, who is a professor now at Kingston University and does stuff about publishing and master's programmes, started writing about self-publishing because she thought it was really interesting. This was way back. JOANNA: I remember. I did one of those surveys. MELISSA: She got told in no uncertain terms, “Do not write about this. You will ruin your career.” She stuck with it. She was right to stick with it. But she was told by senior academics, “Do not write about self-publishing. You're just embarrassing yourself. It's just vanity press.” They weren't even being allowed to write about really quite interesting phenomena that were happening. Just from a historical point of view, that was a really interesting rise of self-publishing, and she was being told not to write about it. JOANNA: It's funny, that delay as well. I'm looking to maybe do my thesis on how AI is impacting death and the death industry. And yet it's such a fast-moving thing. MELISSA: Yes. JOANNA: Sometimes it can take a year, two years or more to get a paper through the process. MELISSA: Oh, yes. It moves really, really fast. Like you say, by the time it comes out, people are going, “Huh? That's really old.” And you'll be going, “No, it's literally two years.” But yes, very, very slow. JOANNA: Let's come back to how we can help other people who might not want to be doing academic-level stuff. One of the things I've found is organising notes, sources, references. How do you manage that? Any tips for people? They might not need to do footnotes for their historical novel, but they might want to organise their research. What are your thoughts? MELISSA: I used to do great big enormous box files and print vast quantities of stuff. Each box file would be labelled according to servant life, or food, or seasons, or whatever. I've tried various different things. I'm moving more and more now towards a combination of books on the shelf, which I do like, and papers and other materials that are stored on my computer. They'll be classified according to different parts of daily life, essentially. Because when you write historical fiction, you have to basically build the whole world again for that era. You have to have everything that happens in daily life, everything that happens on special events, all of those things. So I'll have it organised by those sorts of topics. I'll read it and go through it until I'm comfortable with daily life. Then special things—I'll have special notes on that that can talk me through how you run a funeral or a wedding or whatever, because that's quite complicated to just remember in your head. MELISSA: I always do historical notes at the end. They really matter to me. When I read historical fiction, I really like to read that from the author. I'll say, “Right, these things are true”—especially things that I think people will go, “She made that up. That is not true.” I'll go, “No, no, these are true.” These other things I've fudged a little, or I've moved the timeline a bit to make the story work better. I try to be fairly clear about what I did to make it into a story, but also what is accurate, because I want people to get excited about that timeline. Occasionally if there's been a book that was really important, I'll mention it in there because I don't want to have a proper bibliography, but I do want to highlight certain books. If you got excited by this novel, you could go off and read that book and it would take you into the nonfiction side of it. JOANNA: I'm similar with my author's notes. I've just done the author's note for Bones of the Deep, which has some merfolk in it, and I've got a book on Merpeople. It's awesome. It's just a brilliant book. I'm like, this has to go in. You could question whether that is really nonfiction or something else. But I think that's really important. Just to be more practical: when you're actually writing, what tools do you use? I use Scrivener and I keep all my research there. I'm using EndNote for academic stuff. MELISSA: I've always just stuck to Word. I did get Scrivener and played with it for a while, but I felt like I've already got a way of doing it, so I'll just carry on with that. So I mostly just do Word. I have a lot of notes, so I'll have notepads that have got my notes on specific things, and they'll have page numbers that go back to specific books in case I need to go and double-check that again. You mentioned citations, and that's fascinating to me. Do you know the story about Angle of Repose by Wallace Stegner? It won the Pulitzer. It's a novel, but he used 10% of that novel—and it's a fairly slim novel—10% of it is actually letters written by somebody else, written by a woman before his time. He includes those and works with them in the story. He mentioned her very briefly, like, “Oh, and thanks to the relatives of so-and-so.” Very brief. He got accused of plagiarism for using that much of it by another part of her family who hadn't agreed to it. I've always thought it's because he didn't give enough credence to her. He didn't give her enough importance. If he'd said, “This was the woman who wrote this stuff. It's fascinating. I loved it. I wanted to creatively respond and engage with it”—I think that wouldn't have happened at all. That's why I think it's quite important when there are really big, important elements that you're using to acknowledge those. JOANNA: That's part of the academic rigour too— You can barely have a few of your own thoughts without referring to somebody else's work and crediting them. What's so interesting to me in the research process is, okay, I think this, but in order to say it, I'm going to have to go find someone else who thought this first and wrote a paper on it. MELISSA: I think you would love a PhD. When you've done a master's, go and do a PhD as well. Because it was the first time in academia that I genuinely felt I was allowed my own thoughts and to invent stuff of my own. I could go, “Oh no, I've invented this theory and it's this.” I didn't have to constantly go, “As somebody else said, as somebody else said.” I was like, no, no. This is me. I said this thing. I wasn't allowed to in my master's, and I found it annoying. I remember thinking, but I'm trying to have original thoughts here. I'm trying to bring something new to it. In a PhD, you're allowed to do that because you're supposed to be contributing to knowledge. You're supposed to be bringing a new thing into the world. That was a glorious thing to finally be allowed to do. JOANNA: I must say I couldn't help myself with that. I've definitely put my own opinion. But a part of why I mention it is the academic rigour—it's actually quite good practice to see who else has had these thoughts before. Speed is one of the biggest issues in the indie author community. Some of the stuff you were talking about—finding original sources, going to primary sources, the top-quality stuff, finding the weird little things—all of that takes more time than, for example, just running a deep research report on Gemini or Claude or ChatGPT. You can do both. You can use that as a starting point, which I definitely do. But then the point is to go back and read the original stuff. On this timeframe— Why do you think research is worth doing? It's important for academic reasons, but personal growth as well. MELISSA: Yes, I think there's a joy to be had in the research. When I go and stand in a location, by that point I'm not measuring things and taking photos—I've done all of that online. I'm literally standing there feeling what it is to be there. What does it smell like? What does it feel like? Does it feel very enclosed or very open? Is it a peaceful place or a horrible place? That sensory research becomes very important. All of the book research before that should lead you into the sensory research, which is then also a joy to do. There's great pleasure in it. As you say, it slows things down. What I tend to say to people if they want to speed things up again is: write in a series. Because once you've done all of that research and you just write one book and then walk away, that's a lot. That really slows you down. If you then go, “Okay, well now I'm going to write four books, five books, six books, still in that place and time”—obviously each book will need a little more research, but it won't need that level of starting-from-scratch research. That can help in terms of speeding it back up again. Recently I wrote some Regency romances to see what that was like. I'd done all my basic research, and then I thought, right, now I want to write a historical novel which could have been Victorian or could have been Regency. It had an openness to it. I thought, well, I've just done all the research for Regency, so I'll stick with that era. Why go and do a whole other piece of research when I've only written three books in it so far? I'll just take that era and work with that. So there are places to make up the time again a bit. But I do think there's a joy in it as well. JOANNA: I just want to come back to the plagiarism thing. I discovered that you can plagiarise yourself in academia, which is quite interesting. For example, my books How to Write a Novel and How to Write Nonfiction—they're aimed at different audiences. They have lots of chapters that are different, but there's a chapter on dictation. I thought, why would I need to write the same chapter again? I'm just going to put the same chapter in. It's the same process. Then I only recently learned that you can plagiarise yourself. I did not credit myself for that original chapter. MELISSA: How dare you not credit yourself! JOANNA: But can you talk a bit about that? Where are the lines here? I'm never going to credit myself. I think that's frankly ridiculous. MELISSA: No, that's silly. I mean, it depends what you're doing. In your case, that completely makes sense. It would be really peculiar of you to sit down and write a whole new chapter desperately trying not to copy what you'd said in a chapter about exactly the same topic. That doesn't make any sense. JOANNA: I guess more in the wider sense. Earlier you mentioned you keep notes and you put page numbers by them. I think the point is with research, a lot of people worry about accidental plagiarism. You write a load of notes on a book and then it just goes into your brain. Perhaps you didn't quote people properly. It's definitely more of an issue in nonfiction. You have to keep really careful notes. Sometimes I'm copying out a quote and I'll just naturally maybe rewrite that quote because the way they've put it didn't make sense, or I use a contraction or something. It's just the care in note-taking and then citing people. MELISSA: Yes. When I talk to people about nonfiction, I always say, you're basically joining a conversation. I mean, you are in fiction as well, but not as obviously. I say, well, why don't you read the conversation first? Find out what the conversation is in your area at the moment, and then what is it that you're bringing that's different? The most likely reason for you to end up writing something similar to someone else is that you haven't understood what the conversation was, and you need to be bringing your own thing to it. Then even if you're talking about the same topic, you might talk about it in a different way, and that takes you away from plagiarism because you're bringing your own view to it and your own direction to it. JOANNA: It's an interesting one. I think it's just the care. Taking more care is what I would like people to do. So let's talk about AI because AI tools can be incredible. I do deep research reports with Gemini and Claude and ChatGPT as a sort of “give me an overview and tell me some good places to start.” The university I'm with has a very hard line, which is: AI can be used as part of a research process, but not for writing. What are your thoughts on AI usage and tools? How can people balance that? MELISSA: Well, I'm very much a newbie compared to you. I follow you—the only person that describes how to use it with any sense at all, step by step. I'm very new to it, but I'm going to go back to the olden days. Sometimes I say to people, when I'm talking about how I do historical research, I start with Wikipedia. They look horrified. I'm like, no. That's where you have to get the overview from. I want an overview of how you dress in ancient Rome. I need a quick snapshot of that. Then I can go off and figure out the details of that more accurately and with more detail. I think AI is probably extremely good for that—getting the big picture of something and going, okay, this is what the field's looking like at the moment. These are the areas I'm going to need to burrow down into. It's doing that work for you quickly so that you're then in a position to pick up from that point. It gets you off to a quicker start and perhaps points you in the direction of the right people to start with. I'm trying to write a PhD proposal at the moment because I'm an idiot and want to do a second one. With that, I really did think, actually, AI should write this. Because the original concept is mine. I know nothing about it—why would I know anything about it? I haven't started researching it. This is where AI should go, “Well, in this field, there are these people. They've done these things.” Then you could quickly check that nobody's covered your thing. It would actually speed up all of that bit, which I think would be perfectly reasonable because you don't know anything about it yet. You're not an expert. You have the original idea, and then after that, then you should go off and do your own research and the in-depth quality of it. I think for a lot of things that waste authors' time—if you're applying for a grant or a writer-in-residence or things like that—it's a lot of time wasting filling in long, boring forms. “Could you make an artist statement and a something and a blah?” You're like, yes, yes, I could spend all day at my desk doing that. There's a moment where you start thinking, could you not just allow the AI to do this or much of it? JOANNA: Yes. Or at least, in that case, I'd say one of the very useful things is doing deep searches. As you were mentioning earlier about getting the funding—if I was to consider a PhD, which the thought has crossed my mind—I would use AI tools to do searches for potential sources of funding and that kind of research. In fact, I found this course at Winchester because I asked ChatGPT. It knows a lot about me because I chat with it all the time. I was talking about hitting 50 and these are the things I'm really interested in and what courses might interest me. Then it found it for me. That was quite amazing in itself. I'd encourage people to consider using it for part of the research process. But then all the papers it cites or whatever—then you have to go download those, go read them, do that work yourself. MELISSA: Yes, because that's when you bring your viewpoint to something. You and I could read the exact same paper and choose very different parts of it to write about and think about, because we're coming at it from different points of view and different journeys that we're trying to explore. That's where you need the individual to come in. It wouldn't be good enough to just have a generic overview from AI that we both try and slot into our work, because we would want something different from it. JOANNA: I kind of laugh when people say, “Oh, I can tell when it's AI.” I'm like, you might be able to tell when it's AI writing if nobody has taken that personal spin, but that's not the way we use it. If you're using it that way, that's not how those of us who are independent thinkers are using it. We're strong enough in our thoughts that we're using it as a tool. You're a confident person—intellectually and creatively confident—but I feel like some people maybe don't have that. Some people are not strong enough to resist what an AI might suggest. Any thoughts on that? MELISSA: Yes. When I first tried using AI with very little guidance from anyone, it just felt easy but very wooden and not very related to me. Then I've done webinars with you, and that was really useful—to watch somebody actually live doing the batting back and forth. That became a lot more interesting because I really like bouncing ideas and messing around with things and brainstorming, essentially, but with somebody else involved that's batting stuff back to you. “What does that look like?” “No, I didn't mean that at all.” “How about what does this look like?” “Oh no, no, not like that.” “Oh yes, a bit like that, but a bit more like whatever.” I remember doing that and talking to someone about it, going, “Oh, that's really quite an interesting use of it.” And they said, “Why don't you use a person?” I said, “Well, because who am I going to call at 8:30 in the morning on a Thursday and go, ‘Look, I want to spend two hours batting back and forth ideas, but I don't want you to talk about your stuff at all. Just my stuff. And you have to only think about my stuff for two hours. And you have to be very well versed in my stuff as well. Could you just do that?'” Who's going to do that for you? JOANNA: I totally agree with you. Before Christmas, I was doing a paper. It was an art history thing. We had to pick a piece of art or writing and talk about Christian ideas of hell and how it emerged. I was writing this essay and going back and forth with Claude at the time. My husband came in and saw the fresco I was writing about. He said, “No one's going to talk to you about this. Nobody.” MELISSA: Yes, exactly. JOANNA: Nobody cares. MELISSA: Exactly. Nobody cares as much as you. And they're not prepared to do that at 8:30 on a Thursday morning. They've got other stuff to do. JOANNA: It's great to hear because I feel like we're now at the point where these tools are genuinely super useful for independent work. I hope that more people might try that. JOANNA: Okay, we're almost out of time. Where can people find you and your books online? Also, tell us a bit about the types of books you have. MELISSA: I mostly write historical fiction. As I say, I've wandered my way through history—I'm a travelling minstrel. I've done ancient Rome, medieval Morocco, 18th century China, and I'm into Regency England now. So that's a bit closer to home for once. I'm at MelissaAddey.com and you can go and have a bit of a browse and download a free novel if you want. Try me out. JOANNA: Brilliant. Well, thanks so much for your time, Melissa. MELISSA: That was great. Thank you. It was fun. The post Research Like An Academic, Write Like an Indie With Melissa Addey first appeared on The Creative Penn.

The US Justice Department releases millions more pages of files in its Epstein investigation. Victims of the late sex offender, Jeffrey Epstein, have promised to fight on, after they accused the US Department of Justice of protecting abusers. Also: Mexico's president warns that US tariffs on countries helping Cuba could trigger a humanitarian crisis. Claudia Sheinbaum's comments come after President Trump signed an executive order threatening additional tariffs on countries that sell oil to Cuba. Iran's foreign minister insists his country is ready to discuss its nuclear programme with the US. Anti-ICE protests take place across the US following fatal shootings in Minneapolis. We look back at the life of the Emmy-winning actress, comedian and screenwriter Catherine O'Hara who has died at the age of 71. And, Bridgerton season four is on our screens. The Regency era drama is number 1 on the streaming platform, Netflix.The Global News Podcast brings you the breaking news you need to hear, as it happens. Listen for the latest headlines and current affairs from around the world. Politics, economics, climate, business, technology, health – we cover it all with expert analysis and insight. Get the news that matters, delivered twice a day on weekdays and daily at weekends, plus special bonus episodes reacting to urgent breaking stories. Follow or subscribe now and never miss a moment. Get in touch: globalpodcast@bbc.co.uk

Dear gentle reader, Bridgerton has returned. We have your first look at season 4 of the much loved Netflix drama. With all the delicious Regency era language (we are petitioning for "rake" to be the word of 2026) and a hot new leading man (without mutton chops). Loosen your corsets, this is going to be steamy.Plus, Em recommends a horror movie?! Our resident scaredy cat loved this latest cinematic release starring Rachel McAdams and Dylan O'Brien. A little bit Survivor, a little bit slasher it might be the perfect first date movie.Need a refresher before watching Bridgerton Season 4? Listen to our all new Bridgerton podcast on Spotify and Apple. THE END BITS Read about all of this week's best new shows from Mamamia's entertainment team HERE Support independent women's media We’re giving away a Your Reformer Pilates bed (worth $3,400) Subscribe to enter Follow us on TikTok, Instagram and Facebook. And subscribe to our Youtube channel. Read all the latest entertainment news on Mamamia... here. Discover more Mamamia Podcasts here. Do you have feedback or a topic you want us to discuss on The Spill? Send us a voice message, or send us an email thespill@mamamia.com.au and we'll come back to you ASAP! CREDITS Hosts: Laura Brodnik and Em Vernem Executive Producer: Monisha Iswaran Audio Producer: Scott StronachBecome a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

Georgiana, Duchess of Devonshire is a key person connecting the French Revolution era to the Regency Era, because she was besties with Marie Antoinette, wore poufs, and then became besties with the Regent himself, George, Prince of Wales. We're joined by Vulgar History returning guest Amanda Matta (matta_of_fact on social media) to talk about the first part of Georgiana's wild life. Watch this episode as a video. Here is a picture of Georgiana in her famous "picture hat". — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠The Bridgerton Season 4 Official Trailer has dropped on Netflix, teasing the highly anticipated next chapter in the Regency-era romance saga. This season centers on Benedict Bridgerton and the enchanting Sophie Baek, as their Cinderella-inspired love story unfolds amid masked balls, hidden identities, and undeniable chemistry. With Part 1 premiering January 29, 2026, and Part 2 following on February 26, the trailer promises scandal, passion, and fairy-tale magic in the ton.Join Analytic Dreamz on Notorious Mass Effect for an in-depth segment breaking down every detail from the Bridgerton Season 4 official trailer. From Benedict's journey to the new cast dynamics and what fans can expect from this fresh romance arc, this episode delivers thoughtful analysis for Bridgerton enthusiasts and newcomers alike.Dive into the drama, romance, and Regency elegance—listen now to stay ahead of the Netflix premiere. Bridgerton Season 4 | Official Trailer reaction and breakdown only on Notorious Mass Effect with Analytic Dreamz.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

In the Regency Era, reputation was all many working-class women had. When Edinburgh schoolteachers Marianne Woods and Jane Pirie were accused of sapphic behaviour by their student Jane Cumming, they lost everything. So they decided to sue their accuser's wealthy grandmother for libel. The legal case, Pirie and Woods vs Cumming Gordon, only fanned the flames of the scandal. This week, our guest Indigo Dunphy-Smith walks us through the racism, classism, and homophobia that turned these rumours into a well-known scandal. Learn more about Indigo's work at A Queer Was Here — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

TOP 30 COUNTDOWN BEST OF SERIES 2025

STEAMY, SORDID, & GORGEOUS!! With the first part of Bridgerton Season 4 dropping later this month, John & Greg grab a copy of Lady Whistledown's scandal sheet! Download PrizePicks today at https://www.prizepicks.onelink.me/LME... & use code REJECTS to get $50 instantly when you play $5! Gift Someone (Or Yourself) An RR Tee! https://shorturl.at/hekk2 Greg Alba & John Humphrey react to Bridgerton Season 1, Episodes 1 & 2, the lavish Netflix period drama created by Chris Van Dusen and produced by Shonda Rhimes, which reimagines Regency-era London through a modern lens of romance, scandal, and high society intrigue. These opening episodes set the tone for the series' blend of sweeping romance, sharp social commentary, and addictive drama. The premiere introduces the powerful Bridgerton family, led by eldest daughter Daphne Bridgerton (Phoebe Dynevor – Younger, Fair Play), as she enters the marriage market during London's competitive social season. Her fortunes take an unexpected turn when she forms a strategic alliance with the enigmatic Simon Basset, Duke of Hastings (Regé-Jean Page – Roots, The Gray Man), whose charm and emotional distance quickly make him the subject of intense fascination. Their fake courtship sparks both gossip and genuine attraction, becoming the emotional centerpiece of the show's early episodes. Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

What do #MeToo and Jane Austen have in common? More than you might think. Ever since the novel was invented, women have used it as a platform for sharing ideas about sexual consent. Dr Zoë McGee reveals how Jane Austen, Frances Burney and their now-overlooked contemporaries used their stories to try to change society's mind about rape culture - and to reassure survivors they were not alone. Courting Disaster: Reading Between the Lines of the Regency Novel (Manchester UP, 2025) takes a timely deep-dive into a series of classic novels, comparing them with both historic court records and current events to show that our arguments about consent are not a new phenomenon. With the wit and wryness of a courtship novel, McGee reads between the lines to unveil a quiet feminist movement that still resonates today. Because every novel about marriage is also a novel about consent. In an era that's clamouring for a return to the values of the past, Courting Disaster asks what that would really mean, and whether anyone actually liked it back then anyway. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What do #MeToo and Jane Austen have in common? More than you might think. Ever since the novel was invented, women have used it as a platform for sharing ideas about sexual consent. Dr Zoë McGee reveals how Jane Austen, Frances Burney and their now-overlooked contemporaries used their stories to try to change society's mind about rape culture - and to reassure survivors they were not alone. Courting Disaster: Reading Between the Lines of the Regency Novel (Manchester UP, 2025) takes a timely deep-dive into a series of classic novels, comparing them with both historic court records and current events to show that our arguments about consent are not a new phenomenon. With the wit and wryness of a courtship novel, McGee reads between the lines to unveil a quiet feminist movement that still resonates today. Because every novel about marriage is also a novel about consent. In an era that's clamouring for a return to the values of the past, Courting Disaster asks what that would really mean, and whether anyone actually liked it back then anyway. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

What do #MeToo and Jane Austen have in common? More than you might think. Ever since the novel was invented, women have used it as a platform for sharing ideas about sexual consent. Dr Zoë McGee reveals how Jane Austen, Frances Burney and their now-overlooked contemporaries used their stories to try to change society's mind about rape culture - and to reassure survivors they were not alone. Courting Disaster: Reading Between the Lines of the Regency Novel (Manchester UP, 2025) takes a timely deep-dive into a series of classic novels, comparing them with both historic court records and current events to show that our arguments about consent are not a new phenomenon. With the wit and wryness of a courtship novel, McGee reads between the lines to unveil a quiet feminist movement that still resonates today. Because every novel about marriage is also a novel about consent. In an era that's clamouring for a return to the values of the past, Courting Disaster asks what that would really mean, and whether anyone actually liked it back then anyway. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

It's our Regency Era, which means we had to get Vanessa Riley (current Queen of Regency era fiction) on the podcast. This week we're revisiting out conversation from 2023 about her novel Queen of Exiles, about the life of Haiti's Queen Marie-Louise Christophe. It's interesting to revisit this now, after discussing the Haitian Revolution last series, and seeing Marie-Louise in the context of the Regency Era in England. Plus: bonus! Vanessa joined me again to record a new segment where we honour Marie-Louise with a score on the Scandiliciousness Scale! Learn more about Queen of Exiles on Vanessa's website Buy a copy of Queen of Exiles (affiliate link) Learn more about your ad choices. Visit megaphone.fm/adchoices

Kick off 2026 with a bang as G, Nessa, Nick, and Elizabeth return to the Sexpartment to spill all the steamy details from their first Play Champagne New Year's Eve takeover! From the dazzling Bridgerton-themed ball complete with Regency gowns, string quartets, candlelit dinners, and flowing champagne, to the midnight countdown that quickly turned into an unforgettable group play adventure in the hotel's playrooms, this episode captures every glamorous and naughty moment. Hear about the long lines that led to fun chats, the fantastic DJs, carnival bingo with donuts and jugglers, salsa dancing mishaps, and the electric energy of reconnecting with old friends while making delicious new connections. The night escalated beautifully as elegant outfits gave way to sexy lingerie, midnight toasts flowed into a massive group romp filled with swaps, blowjob lines, passionate rides, quiet orgasms, respectful check-ins, and even a little vibrator passing among friends, proving Play Champagne delivers on both sophistication and raw, consensual fun. The crew raves about the welcoming crowd, the inclusive vibe, and why everyone insists the classic atrium events are a must-do next time. Whether you're a seasoned swinger or just curious, this recap of a magical, boundary-pushing New Year's will leave you ready to book your own adventure! Email your questions to Nessa here to be part of "Ask Nessa". Please subscribe on your favorite podcast platform. You can catch us on SLSRadio every Wednesday at 4pm Eastern Time. You can find tons of amazing lifestyle show on FullSwapRadio, including our show, Every Wednesday at 6:30pm and Midnight Eastern Time. We are now hosts on the Swinger Society Discord Server as well. If you have your own sexy stories, please call our hotline and share them with us and our audience. 844-4-Hump-Day If you have any questions for us, please email us at humpdayquickies@gmail.com Visit our website as well.  HumpDayQuickies.com Please follow us on all the social platforms: Twitter - HumpDayQuickies Instagram - HumpDayQuickies FaceBook - HumpDayQuickies TikTok - HumpDayQuickies We are adding new content as quickly as we can!  

A little surprise before Season 5! In this bonus episode, we sit down with the lovely Julie Klassen to talk about her latest novel, Whispers at Painswick Court. Our conversation wanders through the Regency period, Jane Austen adaptations, and the quiet goodness of God. We can't wait for you to listen!

Happy 2026, listeners! To kick off the new year, we're sharing something special: Austen Chat's first episode recorded in front of a live audience. Jane Austen lived during a remarkably dynamic period of British history and was well aware of the forces shaping her world—colonial expansion, booming global trade, revolutions in Europe and the Americas, and yes, slavery and the abolition movement. It was also a world that included people of color whose lives were far richer and more influential and varied than often assumed today. In this episode, we talk with author Vanessa Riley, who is eager to share their stories. Join us as we discuss Miss Lambe—Austen's mixed-race heiress in Sanditon—and meet some notable Black figures from Austen's time, such as Dorothy Kirwan Thomas, who was born enslaved but went on to build a Caribbean business empire. Vanessa also shares some of her experiences behind the scenes (and on the screen!) of the 2024 adaptation of Sense and Sensibility as Hallmark's historical consultant. Dr. Vanessa Riley is the author of over 25 novels across across the genres of historical fiction, romance, and mystery, including a trio of books based on the true stories of extraordinary women during the Regency era: Island Queen, Queen of Exiles, and Sister Mother Warrior. Her works spotlight hidden narratives of Black women and women of color. Vanessa was the historical consultant for Hallmark's 2024 adaptation of Sense and Sensibility and the 2024 Georgia Mystery/Detective Author of the Year for Murder in Drury Lane. With a doctorate in mechanical engineering from Stanford University and other engineering degrees from Penn State, she brings a research-oriented approach to her inclusive storytelling about the Caribbean and the Georgian and Regency eras. For a transcript and show notes, visit https://jasna.org/austen/podcast/ep31.*********Visit our website: www.jasna.orgFollow us on Instagram and FacebookSubscribe to the podcast on our YouTube channelEmail: podcast@jasna.org

The real Pirates of the Caribbean were Black, and women! And Jacquotte Delahaye was the most famous of them all. Author Vanessa Riley's new novel, Fire Sword and Sea, is a sweeping, immersive saga based on the life of the legendary seventeenth-century pirate Jacquotte Delehaye. Vanessa joins us on the podcast to talk all about this lesser-known figure, and how she managed to research this story! Learn more about Vanessa Riley and Fire Sword and Sea. Buy Fire Sword and Sea (affiliate link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Rabbi Jo David grew up in a secular Jewish home in New York. Her mother said, “the woman's job is to always serve the man”. She didn't think so and in the ‘80s decided to become a reformed Rabbi. In 2001, when the World Trade Centerwas destroyed, she was living in Manhattan.The next day she couldn't get off the couch and for 10 years suffered from post traumatic stress syndrome. By the time she was able to walk out of her apartment by herself, Jo had found that writing eased her pain. Soon she was creating spicy Regency romance novels under an alias. The idea for these books came to her in a dream.This vital, vibrant woman, founder of mobile story hours for Headstart, believes “you must give yourself permission to imagine every choice”.“I was in my late 60s when I realized I didn't need everyone's approval.” - Rabbi Jo David

When I read that Julie Klassen's Whispers at Painswick Court was perfect for lovers of Austen and Agatha Christie, I knew this was the book for me, but the story of her visit to Painswick... yeah, sold me. Listen in to see why. note: links may be affiliate links that provide me with a small commission at no extra expense to you.  After talking to Julie, I'm now eager to read the book, of course, but I want to go to Painswick, preferably in a Tardis about three years back. Because, come on! Staying there?  EEEP! I'm also fascinated by the nursing book she mentioned, and will probably be checking that out as well.  I think my favorite part of our conversation was comparing just how similar the people in our "very different" worlds, only a couple of hundred years apart, are. Whispers at Painswick Court by Julie Klassen  She expected her return to Painswick would bring memories of the past--not danger and romance. Anne Loveday, a surgeon's daughter, is determined to live a single, useful life. To escape her matchmaking stepmother, she accepts an invitation from an old friend to return to Painswick, the place where she and her sister spent many happy summers until that last, fateful year. Soon after arriving, Anne is asked to serve as sickroom nurse to Lady Celia, who forbade her nephew to marry Anne's sister years before. Pushing aside resentments, Anne moves into Painswick Court, a shadowy old house rumored to be haunted. Also in residence are Lady Celia's spinster daughter, her handsome adult nephews, and a secretive new lady's maid. Two local doctors visit regularly as well, one of whom admires Anne while concealing secrets of his own. As an escalating series of mishaps befalls her patient, Anne realizes someone is trying to kill the woman. But who? When Anne finds herself a suspect and her resolution to avoid romance challenged, can she discover the real culprit--and protect her heart--before it's too late? Agatha Christie meets Jane Austen in this compelling Regency-era novel laced with intrigue, love, and English village charm for fans of historical romance and whodunit mysteries. Learn more about Julie on her WEBSITE and follow her on GoodReads and BookBub. Don't miss the Regency Facebook Group HERE! Whispers at Painswick Court is available at 30% off with FREE US shipping from BakerBookHouse.com Like to listen on the go? You can find Because Fiction Podcast at: Apple Castbox Google Play Libsyn RSS Spotify Amazon and more!

What does Austen's later writing tell us about her changing ideas? And what factors contributed to her death? In this fourth and final episode of our series chronicling the novelist's life and work, Dr Lizzie Rogers charts the last part of Austen's story, and her enormous continuing influence. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

To round out this year on Vulgar History, I want to revisit this instant classic episode with Regency Era romance author Alexandra Vasti, all about Regency Era Sexy Times!! Now that the podcast is in our Regency Era, it bears repeating. Enjoy!! And can't wait to spent 2026 with you all. Buy Alexandra's sapphic Regency romance Ladies in Hating (affiliate link)⁠ Info on Alexandra Vasti and her books — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, KyLee and Darcy share a few holiday highlights, then KyLee sits down with author Julie Klassen to talk about research, faith, and her latest Regency release. Key takeaways Holiday traditions can be simple, and still feel special. Teachers and read-aloud stories can shape a reader and a writer for life. Julie Klassen weaves themes of grace, forgiveness, and second chances into her fiction. Real places and local legends can add weight and texture to historical novels. Whispers at Painswick Court blends romance with gothic atmosphere and a murder plot. Holiday baking, hot chocolate, and an Instagram invite A Bookworm Review of The Lost Girl of Astor Street, Stephanie Morrill KyLee: Today I will be talking with Julie Klassen. Darcy will not be with us because she’s gone to spend some time with her family. We’re recording this beforehand, and Darcy, we are about 10 days until Christmas. I know you are full of Christmas cheer and doing tons of Christmas things. No, that is not true. Darcy and I were talking about how it feels like the season has not quite started because we have been so busy. However, there are a couple special things we would like to share with you. Darcy: The most Christmas-y thing I am doing this year is making hot chocolate over and over at the ice cream shop. I’m not complaining — I love hot chocolate. I love making it, frothing the milk and everything. I am really looking forward to visiting my sister for Christmas. She lives five hours away. We see each other regularly through the year, but I’m going to spend a whole week at her place with my younger sister. The three of us will be hanging out. She has to work, so we’ll probably be doing some reading during the day. I have a couple of Christmas novellas picked out, one by Rosanna White. I’m looking forward to relaxing and doing Christmas-y things after I get the chaos behind me. KyLee: Do you ever throw something in with your hot chocolate, or make it different? Darcy: I’m very classic. I like to stir it with a candy cane and let that slowly melt in. So it’s like a peppermint hot chocolate. KyLee: I only ask because I started baking while procrastinating on preparing for this episode. I had this idea to take peanut butter cookies, make them a little bigger, and put a Reese's cup in the middle. Like you put a chocolate kiss in the middle. We got Reese's cups and they were PB&J, which I’m not the biggest fan of. I thought, let's see if I can make this work. I get halfway through the recipe. I have my sugar out, shortening measured, flour measured, and I have no peanut butter. I do not know how this happened in my house. My oldest has a pretty severe allergy to milk that affects her esophagus. Finding things like proteins is something we’re constantly trying to do. I pulled out some plant-based chocolate protein powder and mixed that in with the cookies, then cooked them up. They are so good. They are a little heavy on the sugar. Along with having my daughter with this severe allergy, my husband has diabetes. So I rarely bake. I was procrastinating and it is Christmas time, so I broke that out. He tried them against my recommendation. He hates coconut, and since it is plant-based, it has coconut, so he does not want them. So it worked out. Darcy: I love that you are improvising with your holiday baking. This may be a new tradition. You might end up making these chocolate-protein-powder cookies every Christmas now. KyLee: They might be the start of a beautiful Christmas dessert. For our listeners, we are going to do something fun. Pop over to Instagram, on the Historical Bookworm Podcast page. On Instagram, it is Historical Bookworm Podcast, not Historical Bookworm Show. You will find a picture of my cookies, and Darcy, a picture of some hot chocolate. Darcy: Yes, absolutely. KyLee: We would love to see pictures of your sweet treats that you are making this holiday season. Now we are going to get on to the show with Julie Klassen. Meet Julie Klassen Julie Klassen loves all things Jane—Jane Eyre and Jane Austen. She worked in publishing for sixteen years and now writes full time. Three of her novels have won the Christy Award for Historical Romance. She has also won the Minnesota Book Award, the Midwest Book Award, and Christian Retailing's BEST Award. Julie is a graduate of the University of Illinois. She and her husband have two sons and live in St. Paul, Minnesota.  KyLee: Julie, welcome to the Historical Bookworm Show. Julie: Thank you, KyLee. I’m happy to be here. The most Jane Austen thing, besides tea KyLee: Tea drinking goes without saying for an Anglophile. What is the most Jane Austen thing, other than drinking tea, that you might incorporate into your daily life? Julie: True confessions, I do not drink as much tea as I’m probably alleged to do. I am a coffee drinker. Normally it is coffee in the morning, and then I might switch to tea. I just went to the Jane Austen Christmas and birthday party for my local Jane Austen Society of North America meeting and drank lots of tea. Today I drank lots of tea, but it’s not usual. I don’t incorporate a lot of things from the Regency era into my real life because I like my computer and technology. A few things I do. I love candles. I’m not a writer who writes with music or soundtracks, but I do love to burn sweet-smelling candles when I write. If we’re talking about Christmas, then I do love to go to church. We have candlelit services. Charity was very big in the Jane Austen time during Christmas in general. Those kinds of things I am a fan of, but I also like modern medicine and other ways of modern life. KyLee: I agree with you about the modern thing. There is something homey and romantic about candles. Aromatherapy would be great for when you are writing. Julie: I do enjoy it. Ordinary people who leave a lasting impact KyLee: Jane Austen's characters are average people with ordinary lives, often drawn from real life observations. Can you tell us about a time an ordinary person left a lasting impact on your life? Julie: There are a lot. I’ll name teachers. Mrs. Hayes read Jane Eyre to us out loud over several weeks in the sixth grade. That cemented my love of all things English, British literature. Even though I grew up in Illinois, she had a big impact on me. Later, Mrs. Mitchell, a high school writing English teacher, encouraged me in my writing. I am still connected with both of those women online, and I send them my books every year. KyLee: Teachers have a big impact on our lives. There is something special about having a story read aloud to you. It builds trust and imagination. I am a teacher, so I try to read out loud to my students often. I read to them every day. When my children were younger, I read out loud to them too. They don’t really let me do that anymore. How faith and writing intersect KyLee: Could you share a little bit about how faith and writing intersect for you? Julie: I came to Christ later, in my 20s. A lot of my books carry similar themes of grace, forgiveness, second chances, things that I appreciate in my own life. God was very generous to me and wooed me and called me and saved me when I was not interested in Christianity. I try to weave those kinds of things into my books. I have imperfect characters who make mistakes, because that is what I did and continue to do. I am grateful for His mercy, and I try to weave that into all of my books. KyLee: It makes sense that you would share those experiences. We write what we know. Real history, and writing historical fiction versus fantasy Is there anything especially interesting you haven’t covered in other interviews for this book? Julie: One of the things I love about being a historical writer is that, even though I am writing fiction, I love to base things on what was really happening. My book is set in a real place called Painswick in England. Someone praised me about how I continue to show great historical medical knowledge. I laughed because I have zero real medical knowledge, but it shows I have to do a lot of research. For this book, the main character is a surgeon's daughter. She is trying to serve as a sick room nurse to an older woman. It was a fun connection that Jenner, who came up with the smallpox vaccination, was related to Painswick. I did not know that when I made the setting there. It was interesting to include some real history about medical practices. I do a lot of research, but I am not a medical expert. KyLee: You do your research and write those characters and that story, and it takes off. Weaving in historical details makes a difference. I am a fan of fantasy too, but I like that historical fiction is anchored in the way it really was. Julie: In fantasy, you have to build that whole world. In historical, I have anchors, but you still have to build the world for the story. I don’t think I could be a fantasy writer. You would have to make up all your rules and keep track of it. KyLee: I would have to have lists of rules, then I would lose the list and find it a decade later on my computer. Julie: You and I have a similar organizational system. There are so many resources in historical. I can check if a word is too modern. I can see if Jane Austen used it. Whispers at Painswick Court KyLee: Let's talk about your latest release, Whispers at Painswick Court. Anne Loveday, a surgeon's daughter, is determined to live a single, useful life. To escape her matchmaking stepmother, she accepts an invitation from an old friend to return to Painswick, the place she and her sister spent many happy summers until that last, fateful year. Soon after arriving, Anne is asked to serve as sick-room nurse to Lady Celia, who forbade her nephew to marry Anne's sister years before. Pushing aside resentments, Anne moves into Painswick Court, a shadowy old house rumored to be haunted. Also in residence are Lady Celia's spinster daughter, her handsome adult nephews, and a secretive new lady's maid.  Two local doctors visit regularly as well, one of whom admires Anne while concealing secrets of his own. As an escalating series of mishaps befalls her patient, Anne realizes someone is trying to kill the woman. But who? When Anne finds herself a suspect and her determination to avoid romance challenged, can she discover the real killer—and protect her heart—before it's too late? KyLee: Somehow the title did not prepare me for the secrets to include a murder plot. Anne has medical knowledge at her disposal. Why has she set her heart on remaining single? A heroine committed to the single life Julie: Women in that time period, in general, their main goal was to marry and marry well. There were not a lot of options for women. Anne has gotten a taste of helping others and having a greater purpose than marriage. She thinks that because she has a sister who married in an arranged marriage and is unhappy. That’s been her example. Her young stepmother is trying to marry Anne off to completely inappropriate men. Men who are strangers, far too old, and not at all suitable. Men who want a wife and do not appreciate Anne's qualities. She’s determined that marriage is not for her. In that time period, many marriages were more like business arrangements. She does not want to marry for those reasons. She does not want to give up helping others and using the knowledge she has. The men interested in her would expect her to give that up to be their wife. KyLee: She found something she loves. Being pulled away from that would be heartbreaking. Julie: In a different world, she would have loved to be a doctor, a physician, a surgeon. She is smart enough and capable enough, but that was not an option for women. This is as close as she can get. The men in Anne's orbit KyLee: There seem to be several gentlemen of interest. Two nephews of Lady Celia, and a young doctor who admires Anne. Could you sketch a quick portrait of each? Julie: Anne and her sisters spent summers in Painswick because her grandparents lived there. She knows the two grown nephews from her younger days. One is very handsome and charming, and untrustworthy. Jude Dalby is the man her sister fell in love with years ago. His aunt said no, you are not going to marry this surgeon's daughter with very little money. So Anne has resentment toward him. The other nephew is a former military man. They were friends. He takes a shine to her and vice versa, but it is more of a friendship. There are actually two doctors in the story. Both doctors have secrets. The one who takes an interest in Anne has other stuff going on, so he cannot be forthcoming right away. Anne has to review her plan for her life. Sometimes God has other plans. She has to reevaluate if there is a way for her to have both marriage and purpose. KyLee: Which is the happily ever after we hope for. Julie: When you read a Julie Klassen book, you are going to have a happily ever after. It’s pretty much guaranteed. Gothic atmosphere, real legends, and place-based history KyLee: Did this book uncover any new historical tidbits, or give you an opportunity to weave in detail you had not shared before? Julie: There is poison involved, so I had to research those things. I love that the setting, Painswick, has real history I could weave in. The house I based it on is a real place with gothic legends surrounding it for generations. King Charles I stayed there, and people report seeing his ghost around the house and the adjacent churchyard. I am not that interested in ghosts except the Holy Spirit, but it is a well-known legend, and he really did stay in the house. The old house had jail cells in the basement because it used to be used as a courthouse. Prisoners were sent there. I love when I can take something real and weave it into the novel. I think it makes the world more believable and more real for readers. KyLee: Especially when there is somewhere they can go. If you can’t go to England, you can use street view and at least have an idea of what it looks like. Julie: Painswick has a beautiful church and a churchyard that is famous. It has 99 yew trees, and there is legend around it. If they plant another to make it 100, one of the other ones will die, and they will have to cut it down. I did not know yew has lore around it. It is a symbol for eternal life. It is also used for poison. I love to weave in that symbolism. You can Google it and see beautiful pictures. KyLee: I did not know yew wood was poisonous either. That will be handy if it is part of the murder plot. What's next for Julie Klassen KyLee: What is next for your writing, looking forward to 2026? Julie: I turned in my draft for the 2026 novel. Most of my books have been standalone. Whispers at Painswick Court is a standalone, and the 2026 book is also a standalone. It’s not a murder mystery, per se, but it’s a romantic story set on the coast of North Cornwall. It has gothic elements, bumps in the night, rumors, smugglers, those kinds of good things. It’s more of a romance with those gothic elements. It’s set to come out in December of 2026. The title is The Widow of Woodlark Cottage. It’s about a woman who rents Woodlark Cottage on this estate. There are a couple of men with different agendas and a lot of other things going on. Connect with Julie: Newsletter, Pinterest, Amazon, Facebook, Twitter, Goodreads, and Instagram. Bookworm review: The Lost Girl of Astor Street by Stephanie Morrill In “The Lost Girl of Astor Street,” Stephanie Morrill combines a gusty heroine, chronic illness representation, a swoony detective, feuding mafia families, and raw emotion into a gripping YA mystery that'll keep readers guessing till the very end. Fans of first-person narratives will fall for Piper Sail's vibrant voice that practically zings off the page. Determined and devoted, Piper is a compelling character sure to win readers' hearts as they're immersed in her dualistic world of Chicago amid the Roaring Twenties. If you love to hunt for clues with gumshoes and amateur sleuths, join the search for The Lost Girl of Astor Street! Read more about Stephanie at her website. (www.stephaniemorrill.com) ~ Angela Bell, author of A Lady's Guide to Marvels and Misadventure If you enjoyed this episode, we hope you'll subscribe for more on your favorite listening platform, and join our newsletter (see the sidebar). Don't forget to share it with a fellow historical fiction reader! And if you really enjoyed this episode and would like to support, you can always buy us a coffee.

Today we have the pleasure of sharing an episode from one of our favorite podcasts, the Lit Ladies Podcast. Here is more about their show: We are three writers and moms exploring how to live out our faith in our literary lives. We span the country—from the coasts to the Midwest—and with different stages of life, careers, and favorite genres, we are sure to cover the literary landscape. In every episode, we'll discuss books we love, reading life, and writing craft, using the Bible as our guide for beauty, goodness, and truth. New episodes drop every other Friday! Historical Fiction, War Stories, and What We Sip While We Read This Lit Ladies Podcast crossover with the Historical Bookworm team covers why historical fiction matters, how war settings shape stories, and what everyone is reading right now. Key takeaways Historical fiction makes history personal, which helps you see how everyday people lived. Accuracy matters most when it grounds the characters and the social pressures of the era. War settings work best when the focus stays on human cost, resilience, and the ripple effects on families. Reading older books can mean meeting older blind spots, which calls for discernment instead of reflexive dismissal. Lesser-known conflicts can add fresh perspective, especially when anchored in solid research. Welcome to the crossover Karissa: Hello and welcome to the Lit Ladies Podcast. Today we’re doing a special crossover episode with our friends KyLee Woodley and Darcy Fornier and their historical fiction podcast. We’re so excited to have you here today. Darcy: So excited to be here. We have so much fun hanging out with you guys. KyLee: Thanks for the invite. Glad to be here. Karissa: KyLee Woodley is a podcaster and author of the Outlaw Hearts series, adventure romances set in the American Wild West. Darcy Fornier is a podcaster and author of The Crown and the Axe, and they are both the hosts of the Historical Bookworm podcast, which is in its fifth season. It’s for lovers of inspirational historical fiction, and the show features author interviews, bookish and historical segments, and a wide variety of guests, from Christy Award-winners to high-quality indie authors. Favorite reading beverages Karissa: Before we jump in today, I want to know what is everyone’s favorite reading beverage of choice? Christie: I usually drink water, or else I don’t really drink anything because I’m too busy speed reading. But today for the podcast, since we’re doing it in the morning, I get to drink coffee. Darcy: Usually coffee. If I said anything else, my sisters would say I was lying. But I also enjoy hot chocolate or tea. Anything hot. I’m not going to be drinking lemonade even in the summer. KyLee: The nice thing about being in the South is that the AC is always blasting. So it’s hot cocoa, coffee, soup, any time of the day. My current favorite beverage to go with my reading, which I seldom read, but audiobooks, big on audiobooks these days, is the Iced Pecan Crunch Oat Milk Latte. I don’t usually go to Starbucks. I find their coffee very bitter, but this is a blonde espresso. I get it without the foam. It’s too sweet and it takes up too much in my cup. Karissa: I like to drink herbal tea. That’s my main comfort drink. Why historical fiction Karissa: What draws you to historical fiction? KyLee: For me, I like the nostalgia. I grew up very sheltered. We didn’t have a TV until I was 12. My mom would just drop us off at the library, then go shopping, then pick us up whenever. We always had audiobooks or books on tape. When we did get a TV, it was black and white. We watched a lot of black and white shows. For me, I remember those good times with old classic films and literature. There’s also this idea of, “What was.” Historical and fantasy are best friends because there’s that sense of wonder. But historical is like, this really did happen. This was really true. I like to dig into history and see who someone was, and go back to where they were if that’s possible. I love to research the way people lived and thought, the things they invented, and how resourceful they were. Darcy: Mine is similar. It’s about the people that came before, and how their stories influenced our lives today. You can go to historical sites and almost touch the lives that they had there. We tend to study history as the big overview. This person was king, these wars happened, all this stuff. Historical fiction lets you dive into what it was like for the day-to-day person. Even if you’re writing about a king, you’re asking what motivated him and what it felt like. People are people as long as they’ve lived. Karissa: That’s my favorite part too. How did people actually live, what challenges did they face, and what did they wear? KyLee: I also like when an author challenges what we accept as historical norms. Bring out something different that we wouldn’t expect. Like a female rancher who ran a ranch with hundreds of cowboys. I heard on a podcast that there was an African-American college in Waco in the 1860s. I had never heard of that. I want to learn the things that go against what people believe as a whole. I want to see the people who were counterculture in their time. Christie: Whoever wins writes the history book. There’s so much that was lived and done that you don’t know about because it was shut down, or the history books made it seem nice and clean. Favorite eras and the appeal of time travel Karissa: Christie, do you have a favorite era to read or write about? Christie: I haven’t read much historical in a while. I used to read a lot of Jen Turano because her voice is funny, witty, and sharp. For an era, late 1800s to 1940s. If there’s too much work to live, it pulls me out. I’m modern. I don’t want to learn about churning butter. Darcy: A few modern conveniences is okay. Christie: I would do a castle, like medieval, every now and then. KyLee: That’s what’s fun about time travel or slip time. You get the comparison. Especially time travel, when someone modern comes into the past and you see how they react to everything. Karissa: I just discovered Gabrielle Meyer. It’s sort of time travel. KyLee: In those books, the women exist in two timelines until a certain age. Then they have to choose which timeline they’ll live in. What’s fun is that she explores different eras. You get contrast between two past timelines, like the Civil War and the 1920s. Christie: I’d choose the ’20s, not the war. Karissa: I love the Victorian era and the Regency era. I also love reading classics written in the period. You get the perspective of someone who lived in that era and took so much for granted. Darcy: If you read Jane Austen, she doesn’t explain everything because her readers would understand it. Then you read a Regency novel by a modern author, and they explain everything. It’s cool to do both. Karissa: Darcy and KyLee, do you have favorite time periods? Darcy: Medieval is my favorite to read in and write in. Then the Regency era, then the American West. I probably read mostly Westerns. Some people say cowboys are the truest heirs to medieval knights. There are similarities in how unlawful it could feel. There was law in both places, but it only extended so far. Christie: I watch black and white westerns with my mom. The body count is wild. They’re just shooting people in the street and it’s cool. I would never want to live back then. KyLee: I overanalyze it too. It’s set in the 1800s, but it was made in the ’40s or ’50s. So I’m thinking about their worldview and ideologies, and how that shaped what they presented. Christie: They’re pretty racist. Sometimes I’m like, how is this still on TV? Darcy: Everything we write is a product of our time. It’s just more glaring the further back you go. KyLee: I started Gone with the Wind. It’s too long for my taste. Some language made me pause. Karissa: We never see the sins of our own era. Our descendants will look back and see the sins of today. Darcy: Grace Livingstone Hill wrote in the late 1800s and early 1900s. You see elements of racism and classism, and ideas like bloodline influencing character. Looking through modern eyes, it’s horrible. She’s still one of my favorites because her stories are sweet and encouraging in faith, but you see how even a good person is a product of their time. KyLee: That’s why it’s important to be kind. I’m not going to stop reading her because I can see flaws. Don’t throw the baby out with the bathwater. Karissa: That comes up in English teaching too. How do you teach classics responsibly without canceling them completely? War settings in historical fiction Karissa: I wanted to talk about books set during wars. We see a lot set with the backdrop of World War II. Do you have a favorite war setting to read about, and any favorite books? KyLee: I’ve always been drawn to the Civil War. When I was growing up, there were quite a few Civil War movies and books in the Christian genre. The brother against brother aspect pulls me in. As an adult, I look at the events that led up to it and grimace, hoping history doesn’t repeat itself. More recently, the Franco-Prussian War, partly because some of my ancestors' sisters came over during that time. It only lasted about a year. France declared it, and France lost. Their people suffered. Germany demanded huge remunerations in gold. By today’s standards, I did the math before we started, it was about 84 to 95 billion dollars. (FACT CHECK – In today’s purchasing power, estimates for that 5 billion francs generally range between $80 billion and $100 billion USD.) France had promised not to tax people during the war, but afterward they charged back taxes. There was a civil uprising in Paris, and a week-long massacre called the Bloody Week. That history comes into book one of the Outlaw Heart series. It’s lesser known French history. My people were German, and my characters are French, but I was fascinated by it. You don’t hear about that war as much. Darcy: That’s obscure for Americans because it didn’t affect us directly, so it doesn’t make it into our history books. But it made a huge difference in Europe. KyLee: My dad’s side always wrote Prussia on census records, not Germany. That led me to dig into where Prussia was and how that history unfolded. Writing trauma and war without being gratuitous Karissa: What challenges did you find writing about something so difficult in a way that worked for your story? KyLee: The main character in book one, Lorraine, lived through the Bloody Week. She’s in America now. I looked at where she is as an immigrant and how she tries to settle when there is nothing left for her in France. People were rounded up, imprisoned, and shipped off to New Caledonia, a penal colony near Australia, I believe. No trial. Later, there were pardons, but many people were still imprisoned because they were never tried, and their names were never even taken down. Lorraine is haunted by the past and has post-traumatic stress disorder. She refuses to speak English even though she understands it. She holds tightly to French roots, clothing, and food, and stays close to other French people. Jesse challenges her to put down roots in a country where she feels like an alien. That Bible phrase kept coming up to me, be kind to the immigrant, the alien, the foreigner. Remember when you were in Egypt and you were a stranger in a strange land. For research, I relied on as many documents as I could find, plus academic papers written about the Bloody Week and why it happened. I want to respect history and the people who lived it. Karissa: I love how you included the war because we feel the weight she carries without putting everything on the page in an overly graphic way. Christie: The Bandit’s Redemption is the first in the series. It has such a pretty cover too. Darcy: It’s such a good one. Darcy's pick: World War II Karissa: Darcy, do you have a favorite war setting? Darcy: Probably World War II, because it’s so vast. You have the European theater and the Pacific theater, plus the home front in America and Britain. Every time I pick up a World War II book, it’s like, “I did not know that.” The Civil War is hard for me. I grew up in Georgia, and in some places it feels like it happened this century. It was my country. World War II lets me detach a bit more. I did read one Civil War book by Rosanna M. White that was fabulous, Dreams of Savannah. It handled the loyalty conflict very gracefully. Karissa: What makes a good war book? Christie: Accuracy doesn’t matter much to me because I’m not going to catch mistakes. I want characters and their journeys, battles and close calls, romance, and a happy ending. Darcy: I appreciate historical facts because I want to be grounded in the setting. But if I’m reading fiction, I’m there for story and characters. I want to see what the war is doing to them, to their society, to their family, and how it changes their lives. KyLee: I want it at the character level too. I also like seeing people on both sides. I want everyday heroes, and small choices that mattered. I also love surprising historical technology I didn’t know about. Karissa: Accuracy matters to me, but not at the expense of story. I just want what happens to feel believable for the era. In Regency romances, for example, two people being alone in a room can be a big deal. A kiss behind a barn could ruin lives. Darcy: Historical characters in books sometimes have a modern disregard for societal pressure, which is inaccurate. We all feel societal pressure today too. It’s just different pressures. When classics meet modern retellings Christie: Karissa, you like reading the Brontës because they wrote in that time. Do they have stolen kisses, or is it different because they were writing then? Karissa: If it’s Emily and Wuthering Heights, it’s more dramatic and Gothic. With Jane Eyre, I think it’s more bound by the era. Darcy: If someone did a modern retelling, I think they’d put stolen kisses in. KyLee: It depends on the character and how they were raised. There were orphanages and homes for widows who were pregnant, and women who had gotten pregnant outside marriage. There are records showing pregnancies starting before marriage dates in some places in the 1700s. On the whole, the societal expectation mattered. So you need to look at your character. If she’s proper and ladylike, she probably won’t have modern levels of physical intimacy. Karissa has proofread my stuff and told me, this would never happen. She was right. It pushes you to be creative. Make the little things special too. Karissa: What might seem small to us might be very steamy to someone in the Regency era. Like touching a hand without a glove. Darcy: He’ll be proposing within the week. War book recommendations and lesser-known conflicts Christie: I read The Ice Swan by J'nell Ciesielski. That was during the Russian Revolution in 1917. I remember really liking that one. Darcy: Rosemary Sutcliff does this well in her books about Britain after Rome officially withdrew. It spans generations. The first is The Eagle of the Ninth. It’s technically YA and she wrote in the 1950s or ’60s. Sword at Sunset is an adult book with some adult content. She personalizes the conflict and shows conflicting loyalties, and friendships across cultures. It’s history, not fantasy. Karissa: Between Shades of Gray by Ruta Sepetys. Not to be confused with anything else. It’s YA historical set during World War II, but it focuses on Stalin’s reign and deportations to Siberia. It takes place in Lithuania and the Baltic states, where there were multiple occupations. It’s about a girl whose family is sent to a prison camp. I studied abroad in Lithuania, so that history sticks with me. Ruta Sepetys researches a lot and her books are well done. Kelly mentioned The Women by Kristin Hannah, set during the Vietnam War. Darcy: I had someone tell me she read The Women three times because it was so good. It's on my list. My sister highly recommends Kristin Hannah. She read The Nightingale and said it was worth the pain. Christie: I need happy ones. I can only do one super tearjerker a year. What everyone is currently reading KyLee: I borrowed The Dark of the Moon by Fiona Valpy. I’ve read The Dressmaker’s Gift and The Beekeeper’s Promise by her. They're World War II, like French resistance. Melanie Dobson does this well too, like The Curator’s Daughter, a time slip about a woman married to a Nazi soldier. I like books that feel sobering, like they changed my life. I also borrowed Angel from the East by Barbara A. Curtis. I borrowed The Winter Rose by Melanie Dobson, a World War II story about a lady who helps rescue Jewish children. Darcy: I just finished The Bounty Hunter’s Surrender by KyLee Woodley. I had never read it cover to cover. I helped brainstorm, and apparently the villain is my fault. I enjoyed it so much. I’m also reading a contemporary by Becky Wade, Turn to Me, in her Misty River romance series set in Northeast Georgia. I know exactly what she’s describing. Christie: I’m reading The Couple Next Door by Shari Lapena. Karissa: I'm listening to the audiobook of Long Bright River by Liz Moore. It’s about a police officer in Philadelphia. Her sister struggles with addiction, then goes missing. There are flashbacks and a modern timeline, plus mysterious murders. I can't stop listening. Where to find Historical Bookworm and Lit Ladies KyLee: You can connect with us at HistoricalBookworm.com. You can find me at KyLeeWoodley.com and Darcy at DarcyFornier.com Darcy: I’m most active on Instagram, DarcyFornierWriter Karissa: Thank you for joining us today on our literary journey. If you love the podcast, share it with a friend and rate and review. And don’t forget to follow us on social media at Lit Ladies Pod. Our quote today is from Barbara Tuchman: “Books are the carriers of civilization. Without books, history is silent, literature dumb, science crippled. Thought and speculation are at a standstill.”

Jane Austen was a brilliant observer of Georgian Britain – but she couldn't speak for everyone. The author's books depict an evocative slice of early 19th-century life, but many aspects of the Regency era are only hinted at in her novels, as this Long Read written by Lizzie Rogers reveals. Today's feature originally appeared in the Christmas 2025 issue of BBC History Magazine, and has been voiced in partnership with the RNIB. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It was at Chawton House, a cottage in rural Hampshire, that Jane Austen experienced one of the most fruitful episodes of her writing career. In this third instalment of our four-part series charting the novelist's life and work, Dr Lizzie Rogers tells Lauren Good about this creative flourishing, and explores the popular works that Austen published during the period. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Though Jane Austen went largely unrecognized in her own lifetime—four of her six novels were published anonymously, and the other two only after her death—her name is now synonymous with the period romance. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz choose their personal favorites from her œuvre—“Emma,” “Persuasion,” and “Mansfield Park”—and attempt to get to the heart of her appeal. Then they look at how Austen herself has been characterized by readers and critics. We know relatively little about Austen as a person, but that hasn't stopped us from trying to understand her psyche. It's a difficult task in part because of the double-edged quality to her writing: Austen, although renowned for her love stories, is also a keen satirist of the Regency society in which these relationships play out. “I think irony is so key, but also sincerity,” Schwartz says. “These books are about total realism and total fantasy meeting in a way that is endlessly alluring.”This episode originally aired on June 12, 2025. Read, watch, and listen with the critics:“Pride and Prejudice,” by Jane Austen“Persuasion,” by Jane Austen“Emma,” by Jane Austen“Mansfield Park,” by Jane Austen“Sense and Sensibility,” by Jane Austen“Northanger Abbey,” by Jane Austen“Virginia Woolf on Jane Austen” (The New Republic)Emily Nussbaum on “Breaking Bad” and the “Bad Fan” (The New Yorker)“How to Misread Jane Austen,” by Louis Menand (The New Yorker)“Miss Austen” (2025—)“Pride and Prejudice” (2005)Scenes Through Time's “Mr. Darcy Yearning for 10 Minutes” SupercutNew episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts.Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn about your ad choices: dovetail.prx.org/ad-choices

Hortense Mancini was the It Girl of 17th-century France, then put on a pair of pants and ran away from her awful husband. She then became It Girl in exile around the European continent, finally winding up in London as mistress to the Merry Monarch, Charles II. And then her life really began, as for the next two decades she hosted an influential salon in London. Author and historian Annalisa Nicholson has two new books out about Hortense's life, especially her salon era. She joins us to celebrate the life of this underrated, iconic woman. Watch this episode as a video. Listen to the 2023 Vulgar History miniseries about Hortense Mancini here. Read Annalisa's book about Hortense's salon for free online. And buy Annalisa's book of Hortense's letters here! (affiliate link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

S7 E11: Christmas Tea with Jane AustinUnwrapping the GiftsThere is something timeless about sharing tea at Christmas. It is a ritual of warmth and conversation. This year, I invite you to join me for A Christmas Tea with Jane Austen, a special Tea, Toast & Trivia episode that celebrates the enduring gifts Jane left to us: wit, companionship, and resilience.My own journey with Jane began in Bath, where her world comes alive in the graceful curves of the Crescent and the lively spirit of the Assembly Rooms. It found its quiet conclusion in Winchester Cathedral, where she rests beneath a simple stone that belies her extraordinary legacy. Between those two places, Bath's laughter and Winchester's peace, I began to understand how deeply Jane's voice continues to echo across time.In this Christmas reflection, I explore how Jane's humour sparkles like gold, how her characters offer companionship like frankincense, and how her courage shines through life's trials like myrrh. Together, these three gifts remind us that love, friendship, and laughter remain, as ever, the true riches of our lives.So brew a pot of tea, find a quiet corner, and join me for a Christmas tea with Jane Austen, a woman whose words continue to illuminate the human heart.From my family to yours — may your Christmas be bright, and your New Year gentle!RebeccaMusic by Epidemic SoundChristmas On My Mind (Instrumental Version) by About Ivy https://www.epidemicsound.com/mu...Angels We Have Heard on High (Instrumental Version) by Jordin Sparks https://www.epidemicsound.com/mu...Silent Night (Instrumental Version) by Jordin Sparks https://www.epidemicsound.com/mu...AcknowledgmentWith heartfelt thanks to the many wonderful participants of the Jane Austen Festival 2023 in Bath, England (https://janeausten.co.uk/pages/f...) , whose enthusiasm and creativity bring the Regency world to life each September. The photographs shared here were taken during my visit and are presented in celebration of Jane Austen's enduring legacy. This series is offered purely in appreciation of literature, history, and the community that continues to honour her spirit.

If you enjoy English accents and unfiltered sisterly bickering then you may find this show tolerable. This week join us as we untangle Season 3 Episode 6 of the NETFLIX show Bridgeton in eager anticipation of the release of season 3 Expect giggles, mild to moderate innuendo, the sacred sister right to interrupt each other mid-sentence, and a sprinkling of faux Regency expertise that Lady Whistledown would definitely mock.If this little pocket of Bridgerton escapism brings you a smile (or at least distracts you from real-life responsibilities), you can support our nonsense here:

Did you know that Elizabethan Londoners were good kissers? That medieval drinkers used beer to fight off the flames of a raging inferno? And that Jane Austen doesn't paint an entirely accurate picture of the early 19th century? These are just some of the facts served up in Ian Mortimer's new book, Mortimer's A to Zs of English History. Here, in conversation with Spencer Mizen, Ian takes us on an immersive tour of the nation in four periods: the 14th century, the Elizabethan age, the Restoration and the Regency. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In A Guide to Regency Dress: from Corsets and Breeches to Bonnets and Muslins (Yale UP 2025), celebrated dress historian Dr. Hilary Davidson brings together nearly 20 years of research on Regency fashion in an illustrated guide for the first time. All the elements of the Regency wardrobe of both men and women—from coats, gowns and undergarments to shoes, accessories, beauty, hair and jewellery—are assembled, along with their textiles and trimmings. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In A Guide to Regency Dress: from Corsets and Breeches to Bonnets and Muslins (Yale UP 2025), celebrated dress historian Dr. Hilary Davidson brings together nearly 20 years of research on Regency fashion in an illustrated guide for the first time. All the elements of the Regency wardrobe of both men and women—from coats, gowns and undergarments to shoes, accessories, beauty, hair and jewellery—are assembled, along with their textiles and trimmings. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

We might assume that Jane Austen led a quiet existence, writing dramatic plots instead of experiencing them herself – but that presumption is far from the truth. In this second episode of our four-part series on Austen's life and writing, Dr Lizzie Rogers and Lauren Good chart the author's tumultuous twenties, an eventful period of her life during which she faced everything from a fleeting romance to sudden loss. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Newsmongers unfolds the seedy history of tabloid journalism, from the first printed ‘Strange Newes' sheets of the sixteenth century to the sensationalism of today's digital age. The narrative weaves from Regency gossip writers through New York's ‘yellow journalism' battles to the ‘sex and sleaze' Sun of the 1970s; and from the Brexit-backing populism of the Daily Mail to the celebrity-obsessed Mail Online of the 2000s. Colourful figures such as Daniel Defoe, Lord Northcliffe, Hugh Cudlipp, Rupert Murdoch and Robert Maxwell are brought to vivid life. From scandalous confessions to the Leveson Inquiry, the book explores journalists' unscrupulous methods, taking in phone hacking, privacy breaches and bribery. In the digital era, popular journalism succumbed to ‘churnalism' while a certain royal is seeking revenge on the tabloids today. Terry Kirby is Senior Lecturer in Journalism at Goldsmiths, University of London, and author of The Trials of the Baroness (1991). He has been a journalist for more than four decades and was a founder member of staff at The Independent, where he worked for more than twenty years in a number of roles, including crime correspondent, night editor and chief reporter Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

This week the Government set out its strategy to deal with violence against women and girls. This makes up nearly 20% of all recorded crime in England and Wales. Over the last year alone, one in every eight women was a victim of domestic abuse, sexual assault or stalking, according to Home Office figures. Educating boys on misogyny is a key aim of the strategy and figures show that nearly one in five boys aged 13 to 15 are said to hold a positive view of the self-proclaimed misogynist Andrew Tate, according to a YouGov poll. Alex Davies-Jones, the minister for Victims and Tackling Violence Against Women and Girls, joins Anita Rani to discuss the Government's strategy.Hollywood actor Kate Hudson's latest movie Song Sung Blue is based on the real life story of Wisconsin couple Mike and Claire Sardina. Kate plays Claire, who along with her husband Mike, played by Hugh Jackman, finds local fame in the 1990s as a Neil Diamond tribute act. Kate tells Anita about the appeal of the role and how she's now found empowerment and her voice.Woman's Hour celebrates the 250th anniversary of Jane Austen's birth. Nuala McGovern delves into the world that Jane was born into in 1775. She is joined by the author Gill Hornby, President of the UK Jane Austen Society, and by Dr Zoe McGee whose book Courting Disaster explores the issue of consent in Regency literature.According to a survey in the press this week, nearly half of younger women surveyed said they are confident in painting and decorating, compared with just 28% of young men. The stats are from the motoring and cycling firm Halfords who said its study revealed a reversal from previous generations. We hear from Vickie Lee, DIY YouTuber known online as The Carpenter's Daughter, alongside Caroline Henn, founder of bePractical DIY in Bristol, who runs courses aimed at making DIY accessible.We celebrate the phenomenon of female tribute acts to male bands. Gobby Holder, aka Danie Cox of Slady and Lolo Wood of The Fallen Women and Ye Nuns discuss.Presenter: Anita Rani Producer: Dianne McGregor

The Newsmongers unfolds the seedy history of tabloid journalism, from the first printed ‘Strange Newes' sheets of the sixteenth century to the sensationalism of today's digital age. The narrative weaves from Regency gossip writers through New York's ‘yellow journalism' battles to the ‘sex and sleaze' Sun of the 1970s; and from the Brexit-backing populism of the Daily Mail to the celebrity-obsessed Mail Online of the 2000s. Colourful figures such as Daniel Defoe, Lord Northcliffe, Hugh Cudlipp, Rupert Murdoch and Robert Maxwell are brought to vivid life. From scandalous confessions to the Leveson Inquiry, the book explores journalists' unscrupulous methods, taking in phone hacking, privacy breaches and bribery. In the digital era, popular journalism succumbed to ‘churnalism' while a certain royal is seeking revenge on the tabloids today. Terry Kirby is Senior Lecturer in Journalism at Goldsmiths, University of London, and author of The Trials of the Baroness (1991). He has been a journalist for more than four decades and was a founder member of staff at The Independent, where he worked for more than twenty years in a number of roles, including crime correspondent, night editor and chief reporter Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Newsmongers unfolds the seedy history of tabloid journalism, from the first printed ‘Strange Newes' sheets of the sixteenth century to the sensationalism of today's digital age. The narrative weaves from Regency gossip writers through New York's ‘yellow journalism' battles to the ‘sex and sleaze' Sun of the 1970s; and from the Brexit-backing populism of the Daily Mail to the celebrity-obsessed Mail Online of the 2000s. Colourful figures such as Daniel Defoe, Lord Northcliffe, Hugh Cudlipp, Rupert Murdoch and Robert Maxwell are brought to vivid life. From scandalous confessions to the Leveson Inquiry, the book explores journalists' unscrupulous methods, taking in phone hacking, privacy breaches and bribery. In the digital era, popular journalism succumbed to ‘churnalism' while a certain royal is seeking revenge on the tabloids today. Terry Kirby is Senior Lecturer in Journalism at Goldsmiths, University of London, and author of The Trials of the Baroness (1991). He has been a journalist for more than four decades and was a founder member of staff at The Independent, where he worked for more than twenty years in a number of roles, including crime correspondent, night editor and chief reporter Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Annie Gray always rejects turkey and the trimmings at Christmas. She believes they are a construct of a bygone era and will often eat pizza on the big day instead. She explores alternative dinners from Christmases past, present and future. She visits Bath to discover what would have been eaten over Christmas in the Regency period and bakes traditional mince pies - made with minced meat. She'll look at how Christmas is celebrated differently around the world and will discuss Christmas dinners to come with a food futurologist.Presented by Dr Annie Gray Produced in Bristol by Robin Markwell for BBC Audio

Happy 12th of January everyone! As a (sort of) Christmas treat, Kim and Alice are re-visiting Christmas at Downton Abbey. We cover snow proposals, murder trials, and a Ouija board channelling beautiful messages that will be roundly ignored. All this and exactly one Christmas tree!Sound Engineer: Keith NagleEditor: Keith NagleProducer: Helen HamiltonIf you enjoy this podcast, come with us on a romp through the Regency era with our sister podcast, Austen After Dark. Listen to all episodes now. Hosted on Acast. See acast.com/privacy for more information.

For this year's Hanukkah special, we're revisiting the timeless saga of RACHEL, the Jewish actress so iconic she needed only one name. It's so interesting to look at her story again after the French Revolution series, because it shows that Market Ladies: The Next Generation were just as riot-happy as the original Sans-Culottes Squad. We're joined by Allison Epstein, our French Revolutionary history advisor, to discuss Rachel's (sexual) Napoleon complex, and all the revolutions that she lived through. When we recorded this, Allison's book Fagin the Thief was not yet for sale. But now it is!! Get a copy of Allison's book Fagin the Thief (affiliate link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

We talk all things Jane Austen in celebration of the 250th anniversary of her birth. First, Iowa City-based artist Sonja Strathearn began making Regency-era attire three years ago to attend The Jane Austen Fest and the obsession has only grown from there. Strathearn invites us into her closet to show off her Regency attire. Then, Nebbe speaks with author Curtis Sittenfeld, an Austen fan and the author of the 'Pride & Prejudice' reimagining, 'Eligible.' Finally, musicologist Marian Wilson Kimber talks about Austen's musical inclinations, the pieces in her playbook and the ways music influenced her books.

On this special bonus episode in honor of Jane Austen's 250th birthday, 'Talk of Iowa' host Charity Nebbe and producer Dani Gehr settle a debate they've been having for years: Which adaptation of 'Pride and Prejudice' is best? Nebbe makes her case for the longer and more by the book 1995 BBC miniseries, while Gehr advocates for the iconic moments in the more modern 2005 film with Keira Knightley and Matthew Macfadyen. You can see the two debate in Regency-era outfits on IPR's Instagram, Facebook and TikTok accounts.

2025 marks 250 years since the birth of Jane Austen, the English writer whose finely tuned observations of Regency life shaped the modern novel. But perhaps more notably for Screenshot, it's also 30 years since Colin Firth walked out of a lake and straight into the nation's hearts, in the BBC's Pride and Prejudice miniseries.Three decades on from the ‘Austenmania' of 1995, Ellen E Jones and Mark Kermode explore Jane Austen adaptations past and present. Do screen versions of novels like Emma and Sense and Sensibility offer a cosy retreat from the modern world - or do they still have something to say in the present moment? Mark speaks to film writer and researcher Lillian Crawford about various Austen triumphs and missteps on screen, from numerous incarnations of Emma, to Netflix's recent update on her last novel, Persuasion. He also speaks to playwright Nick Dear about an adaptation many Austen experts consider a high-water mark - the 1995 version of Persuasion, written by Dear and directed by Roger Michell for the BBC's Screen Two strand. Meanwhile, Ellen talks to Amy Heckerling, writer and director of the classic 1995 comedy Clueless, which transplants Austen's novel Emma to a Beverly Hills high school. And she also speaks to writer-director Celine Song, whose recent film Materialists stars Dakota Johnson as a professional matchmaker - and unmistakably bears the influence of Austen. Producer: Jane Long A Prospect Street production for BBC Radio 4

Listeners! In this episode, we're diving into Mollie Rushmeyer's newest release, The Rules of Falling for You—and it's every bit as fun as it sounds. Join us for a whirlwind of mishaps, Regency-era romance (yes, we absolutely brought snacks), and all the whimsy and charm we've come to love from this author. Get ready, listeners—this delightful journey is just getting started!

What inspired the daughter of a rural reverend to write about eligible bachelors and drunken misadventure? In this first episode of our four-part series on Jane Austen's life and work, Dr Lizzie Rogers and Lauren Good step back into the influential Regency novelist's formative years, and explore her earliest writings that show how she began to find her voice. ––––– GO BEYOND THE PODCAST Want to go further into the world of Jane Austen and her literary creations? HistoryExtra's Lauren Good rounds up some essential reading, listening and viewing from the HistoryExtra and BBC History Magazine archive to deepen your understanding of Austen's life, her work and the Regency era in which she wrote: https://bit.ly/49F9oUk Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're in our Regency Era and just finished Mary Shelley Month, and Claire Clairmont REFUSES TO BE IGNORED. We're revisiting the story of this iconic woman, whose story feels even more meaningful now that we've learned about her (kind of) stepmother Mary Wollstonecraft, as well as more about the Regency Era in which Claire made her mark. Plus, our guest Lesley McDowell's book Clairmont is now available in North America!! (It wasn't when we first recorded this a bit ago). Click here to buy the Clairmont eBook. (aff link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Such a treat this week! My daughter Darcy is joining me to talk about one of her favorite novels, Pride and Prejudice. For me, after several weeks of dense reading, returning to Jane Austen's Pride and Prejudice felt like revisiting an old friend—but this time, the experience was unexpectedly conflicted. While I still admire the novel's perfectly engineered rom-com plot and its web of misunderstandings and romances, I found my patience thinner for the Regency language and social codes. What once felt transporting now felt distant and even claustrophobic. The novel's narrow social world, sparse physical description, and elastic sense of time made the setting feel oddly unreal to a modern reader.What was really fun, and unexpected, was how Darcy helped me reclaim my love of this book. I was just getting over my skis!While I struggled more with the characters than I remembered, Darcy loved Jane in particular. I found that Mrs. Bennet, often dismissed as ridiculous, now struck me as pragmatically rational in a world where marriage determines survival. And the tidy “happily ever after” ending left me missing the moral and emotional complexity I've grown used to elsewhere. But for Darcy, it felt like the way the book should end, especially for Jane and Bingley. I hope you enjoy this conversation half as much as I did!LINKTed Gioia/The Honest Broker's 12-Month Immersive Humanities Course (paywalled!)My Amazon Book List (NOT an affiliate link)The Lizzie Bennett DiariesCONNECTThe complete list of Crack the Book Episodes: https://cheryldrury.substack.com/p/crack-the-book-start-here?r=u3t2rTo read more of my writing, visit my Substack - https://www.cheryldrury.substack.com.Follow me on Instagram - https://www.instagram.com/cldrury/ LISTENSpotify - https://open.spotify.com/show/5GpySInw1e8IqNQvXow7Lv?si=9ebd5508daa245bdApple Podcasts - https://podcasts.apple.com/us/podcast/crack-the-book/id1749793321 Captivate - https://crackthebook.captivate.fm

Ever since the novel was invented, women have used it as a platform for sharing ideas about sexual consent. In her new book Courting Disaster: Reading Between the Lines of the Regency Novel, Dr. Zoë McGee reveals how Jane Austen and other women writers from this time used their stories to try to change society's mind about rape culture - and to reassure survivors they were not alone. Zoë joins us today to talk about how her research revealed a quiet feminist movement that still resonates today. Because every novel about marriage is also a novel about consent. Buy a copy of Courting Disaster (affiliate link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Get 15% off all the gorgeous jewellery and accessories at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠common.era.com/vulgar⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠commonera.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code VULGAR at checkout — Get Vulgar History merch at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.com/store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (best for US shipping) and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vulgarhistory.redbubble.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (better for international shipping) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support Vulgar History on Patreon ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ — Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Use this link to shop there and support Vulgar History.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The end of the year is nigh, and it's our holiday romance novel episode! We're talking about a collection of romances that are entirely new to us (except for the one moment where Sarah talks about that old McNaught short story that installed all her cold-weather romance buttons). We've got Austen retellings, Regency cats, characters playing with holiday toys, CIA agents and, of course, some sexy Santas. You deserve nice things. Don't forget--you can buy the Fated Mates Best of 2025 Book Pack from our friends at Pocket Books Shop in Lancaster, PA, and get eight of the books on the list! Scoundrel Take Me Away and Lazarus, Home from War (independently published) are not in the box. As always, you can add additional romances, or one of Sarah's books to your box. If you want other people to discuss holiday (or other) romances, maybe you want to join our Patreon? You get an extra monthly episode from us and access to the incredible readers and brilliant people on the Fated Mates Discord! Support us and learn more at fatedmates.net/patreon. Our next read along will be KJ Charles's The Magpie Lord. Get it at Amazon, Barnes & Noble, Kobo, Apple Books or wherever you get your books.NotesThere are several accounts as to where Irving Berlin wrote White Christmas. Sarah stayed at the Arizona Biltmore Hotel, which claims it inspired the song (by being the opposite of snowy), but there's also an account that he wrote it in La Quinta, CA at the La Quinta Hotel (not to be confused with just any LaQuinta). Check out our prior holiday romance episodes:2024, including Sara Raasch, Vivian Mae, Evie Rose, Timothy Janovsky & more2023, including Holly June Smith, Oona Grace, Kayla Grosse, Tracey Livesay & more2022: Here Comes Santa Claus2021: Short & Sexy Christmas Recs2019, including Adriana Herrera, Delilah Peters, and several anthologies2018, including Therese Beharrie, a Chanukah anthology, Cecilia Grant, Tiffany Reisz & moreBooks