Podcasts about regency england

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.

Tansy's Hot Cup of History essay series continues with a two-part tale of scandal, politics and celebrity stalkers in Regency England. Lady Caroline Lamb is famous for being Lord Byron's crazy ex-girlfriend, and for writing him into her novel as a villain… but not enough people talk about all the poetry she wrote during her chaotic, creative life! Sign up to my author newsletter for updates, follow me on Insta, Threads or Bluesky as @tansyrr, find me at tansyrr.com and on Facebook at TansyRRBooks, and if you like this podcast consider supporting me at Patreon where you can receive all kinds of cool rewards, early ebooks and exclusive stories for a small monthly pledge.

Tansy's Hot Cup of History essay series continues with a two-part tale of scandal, politics and celebrity stalkers in Regency England. Lady Caroline Lamb is famous for being Lord Byron's crazy ex-girlfriend, and for writing him into her novel as a villain… but not enough people talk about all the poetry she wrote during her chaotic, creative life!   Sign up to my author newsletter for updates, follow me on Insta, Threads or Bluesky as @tansyrr, find me at tansyrr.com and on Facebook at TansyRRBooks, and if you like this podcast consider supporting me at Patreon where you can receive all kinds of cool rewards, early ebooks and exclusive stories for a small monthly pledge.

Greg Jenner is joined in Regency England by historian Dr Lucy Worsley and actor Sally Phillips to learn all about the life and works of literary legend Jane Austen on the 250th anniversary of her birth in December 1775.It is a truth universally acknowledged that Jane Austen is one of England's best-loved authors, and the creator of such indelible characters as Elizabeth Bennet, Mr Darcy, Emma Woodhouse and Elinor and Marianne Dashwood. Whether you have read one of her six books – Pride and Prejudice, Sense and Sensibility, Persuasion, Emma, Northanger Abbey and Mansfield Park – or seen one of the many adaptations, most of us have some experience with Austen. But her life story and how it influenced her writing is perhaps less well-known. This episode explores her early life as the daughter of a rural clergyman, takes a peek inside the books a teenage Jane was reading, and delves into her romantic and familial relationships to see what shaped Austen into the formidable literary talent she was. And it asks a key question: was Jane Austen, who wrote such wonderful women characters, a feminist?This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Clara Chamberlain and Charlotte Emily Edgeshaw Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Ben Hollands Senior Producer: Emma Nagouse Executive Editor: Philip Sellars

Grace Hitchcock is the author of multiple historical novels and novellas. She holds a Masters in Creative Writing and a Bachelor of Arts in English with a minor in History. Grace lives near New Orleans on a hobby farm with her husband, Dakota, sons and daughter.  Regency England -- Austen or Heyer? Grace Hitchcock joins us for a conversation about all things Regency England. While Jane Austen may be the first name to pop to mind, Grace loves the adventure and humor of author Georgette Heyer's Regency romances. We discuss what characters Grace would love to have tea with, and what aspect of Regency society made her devise a cheat sheet to keep it straight. Every Story Needs Some Laughter Known for the fun and humor woven alongside the serious situations in her books, Grace shares how she weaves that humor into her stories -- often at her character's expense. A Mismatched Couple With a relatively staid and traditionally minded hero and an ambitious heroine who is quite "inventive" when it comes to solving her problems, the novel we discuss today, To Kiss a Knight, promises a fun and adventure-filled romance. Grace gives us an inside peek into what makes these two characters themselves -- and how they'll be perfect for each other. Connect with Grace at her website, where you can sign up for her newsletter and receive a free novella, and on Facebook, Instagram, Goodreads, and Amazon. ABOUT THE BOOK To Kiss a Knight Vivienne Poppy's plans are working out quite well. She's run away from her family and the prospect of a horrid marriage of convenience and plans to spend her time writing under her pseudonym, Lady Larkby. Until she discovers the old Larkby title is not as dead as she thought. Yeoman of the Guard and recently knighted Sir Sebastian Larkby is stunned to discover a Lady Larkby that he does not remember marrying. Suddenly Vivienne is left with a choice: relinquish her pen name, expose her true identity, and break Sebastian's dying grandmother's heart—or feign marriage to Sebastian to keep the title and fulfill the old woman's wishes. This witty novel from award-winning author Grace Hitchcock is filled with scandal, mishap, and just the right amount of romance. Other episodes that feature Grace: A Bookchat about His Delightful Lady Delia with Grace Hitchcock & a Review of The Mobster's Daughter by Rachel Scott McDaniel – Historical Bookworm A Bookchat about To Catch a Coronet with Grace Hitchcock – Historical Bookworm Bookworm Review "Piper Sail is BACK, and she's still the cat's pajamas!In The Secret Investigator of Astor Street, Stephanie Morrill distills atmospheric prose, the nuances of grief, complex family drama, undiluted emotion, and the shadowed back-alleys of 1920's Chicago into an intoxicating YA mystery riddled with more twists than a speakeasy escape tunnel.Readers of “The Lost Girl of Astor Street” will thrill at being reunited with the intrepid Piper Sail as she takes a magnifying glass to a maybe murder, doggedly searching for the truth and a sense of purpose.If you're in need of a private eye with moxie and heart, The Secret Investigator of Astor Street is on the case!!" ~ Angela Bell, author of A Lady's Guide to Marvels and Misadventure THE AUTHOR Stephanie Morrill writes books about girls who are on an adventure to discover their unique place in the world. She is the author of several contemporary young adult series, as well as two historical young adult novels, The Lost Girl of Astor Street and Within These Lines. Within These Lines was a Junior Library Guild Gold Standard selection, as well as a YALSA 2020 Best Fiction for Young Adults pick. Since 2010, Stephanie has been encouraging the next generation of writers at her website, GoTeenWriters.com, which has been on the Writer's Digest Best Websites for Writers list since 2017. She lives in the Kansas City area, where she loves plotting big and small adventures to enjoy with her husban...

It is a truth universally acknowledged, that a single woman in possession of a pistol, must be in want of silver bullets. However little known the feelings or views of a werewolf on his first entering a neighbourhood, this truth is so well fixed in the minds of the local investigators that he is considered as the rightful target of some one or other of their daughters…  The cast of the Dugongs and Seadragons podcast (and guests) were at Rose City Comic Con in Portland, and live-recorded an episode set in Regency England, using the Call of Cthulhu RPG system. Thanks to our kind sponsor Kraken Dice for making this possible! Please support Dugongs & Sea Dragons on Patreon: https://www.patreon.com/DugongsAndSeadragons

On today's Saturday Matinee, we enjoy a witty exploration of love, class, and family set in Regency England as told by Jane Austen in her best-loved novel "Pride and Prejudice".Link to Jane Austen Stories: https://www.noiser.com/jane-austen-storiesSupport the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Greg Jenner is joined in Regency England by historian Dr Lucy Worsley and actor Sally Phillips to learn all about the life and works of literary legend Jane Austen on the 250th anniversary of her birth in December 1775. It is a truth universally acknowledged that Austen is one of England's best-loved authors, and the creator of such indelible characters as Elizabeth Bennet, Mr Darcy, Emma Woodhouse and Elinor and Marianne Dashwood. Whether you have read one of her six books – Pride and Prejudice, Sense and Sensibility, Persuasion, Emma, Northanger Abbey and Mansfield Park – or seen one of the many adaptations, most of us have some experience with Austen. But her life story and how it influenced her writing is perhaps less well-known. This episode explores her early life as the daughter of a rural clergyman, takes a peek inside the books a teenage Jane was reading, and delves into her romantic and familial relationships to see what shaped Austen into the formidable literary talent she was. And it asks a key question: was Jane Austen, who wrote such wonderful women characters, a feminist? If you're a fan of iconic authors, Regency romances and women succeeding in a man's world, you'll love our episode on Jane Austen. If you want more incredible women authors with Dr Lucy Worsley, check out our episode on Agatha Christie. For more from Sally Phillips, listen to our episode on Fairy Tales. And for more Regency romance, there's our episode on Georgian Courtship. You're Dead To Me is the comedy podcast that takes history seriously. Every episode, Greg Jenner brings together the best names in history and comedy to learn and laugh about the past. Hosted by: Greg Jenner Research by: Clara Chamberlain and Charlotte Emily Edgeshaw Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Ben Hollands Senior Producer: Emma Nagouse Executive Editor: Philip Sellars

Did people in the 18th century know about contraception? How did young women learn the facts of life before their wedding nights? How accurate is Bridgerton? What do we know about queer people from this era? We answer all these questions and more in a chat with romance novelist Alexandra Vasti! Learn more about Alexandra's books: alexandravasti.com/books Preorder Alexandra's upcoming sapphic romance novel Ladies in Hating (affiliate link) — ⁠⁠⁠⁠⁠⁠⁠⁠⁠Preorder info for Ann's upcoming book, Rebel of the Regency!⁠⁠⁠⁠⁠⁠⁠⁠⁠ — ⁠⁠⁠⁠RSVP for the Vulgar History in-person meet-up in Toronto!⁠⁠⁠⁠ — 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

This week we look - for the first time - at a novel and Phil is joined by writer Gill Hornby.The Elopement is the third book in a trilogy exploring the world of Jane Austen's family and the first in the series - Miss Austen - was recently turned into a much praised drama series by the BBC and PBS. Gill research into the world that Jane Austen memorably described has been described as painstaking and emotionally accurate, and her books have even drawn comparisons with Austen's own writing for their wit, sense of observation…and pointed social commentary, especially about the status of women in Regency England. You can buy the book at our own bookshop - along with thousands of others.The Elopement a book by Gill Hornby.uk.bookshop.orgThere's also information and extracts from Phil's new book here 1945 The Reckoningsites.google.comYou can order the book now on Amazon UK and Amazon India, Australia and New Zealandhttps://www.amazon.co.uk/1945-Reckoning-Empire-Struggle-World/dp/139971449X/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=&sr=#***We now have a Thank You button (next to the 'three dots') for small donations that help support our work***Looking for the perfect gift for a special scandalous someone - or someone you'd like to get scandalous with? We're here to help...https://www.etsy.com/uk/shop/ScandalMongers...*** If you enjoy our work please consider clicking the YouTube subscribe button, even if you listen to us on an audio app. It will help our brand to grow and our content to reach new ears.THE SCANDAL MONGERS PODCAST is also available to watch on YouTube...https://www.youtube.com/@thescandalmongerspodcastThe Scandal Mongers...https://x.com/mongerspodcastPhil Craig...https://x.com/philmcraigYou can get in touch with the show via...team@podcastworld.org(place 'Scandal Mongers' in the heading) Hosted on Acast. See acast.com/privacy for more information.

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a patron and enjoy special perks and bonus content.Have a favorite romance trope? Maybe meet-cute, meet-cringe, love at first sight, enemies to lovers, friends to lovers, love triangles, forced proximity, off-limits crush, fake relationship, marriage of convenience, second-chance love, etc? In this episode, I let you know what some of our listeners said were there favorite romance tropes.Here are some historical romances you might like:Lady Maybe by Julie KlassenThis has an amnesia trope, one we didn't even discuss.In the midst of a fierce storm, a carriage carrying Sir John Mayfield, Lady Marianna Mayfield, and her lady's companion careens off a narrow cliff road, changing their fates forever. When the wreckage is found, Sir John is gravely injured, and a woman is discovered unconscious wearing a valuable ring. As the woman regains consciousness in a strange house, she grapples with fragmented memories of the accident, unsettling dreams of a child in peril, and a deep mystery tied to the ring on her finger. Surrounded by unfamiliar faces and haunted by a sense of foreboding, the survivor realizes she cannot trust anyone and must uncover the truth of what happened that stormy night, even as danger mounts and enemies conspire against her. In this revised and updated 10th anniversary edition of Julie Klassen's acclaimed novel, a woman's startling secrets lead her into unexpected danger and romance in Regency England.Lady Maybe is a clean Regency romance full of mystery, adventure, and a search for identity. This novel will delight fans of the amnesia trope, Julia Quinn, Jane Austen, and Mimi Matthews.Get your copy of Lady Maybe by Julie KlassenBeyond Ivy Walls by Rachel FordhamReminiscent of Beauty and the Beast, a recluse and a young woman discover that the scars of life are no match against an act of love.Iowa, 1903. All of Monticello believes Otis Taylor has been away fostering his musical genius. But the truth is that his father exiled him long ago, rejecting Otis's appearance and the scars that came with it. Now that he is the last living Taylor, Otis has covertly returned to settle his family's affairs and rid himself of his past for good. However, he soon discovers that he may not have been the only abandoned Taylor and begins a tireless search for his missing toddler niece.At twenty-three years old, Sadie West left her family farm and found employment at the Hoag feather duster factory. It isn't a romantic job, but she's hardly had a glimmer of romance since her beau went off to college, leaving her with no promise of a future together. Desperate to save money and help her family make ends meet, she trespasses and finds shelter in an abandoned building--and is thrown in the path of the town's mysterious bachelor.Otis's wounds are deep, but as Sadie's friendship with him grows, she begins to fall for the man beneath the mask. Locating his long-lost niece, however, is more difficult than either could have imagined, and Sadie West may be the key to Otis Taylor finally finding his way home.Get your copy of Beyond Ivy Walls by Rachel Fordham.The Lady's Mine by Francine RiversA delightful new western romance and New York Times bestseller fro

Grab your Very Important Props and crunchiest snacks, dearest listeners! Join us as we step into the studio to meet the man behind the sound, Mitchell Kohen, to discuss his work as the ton's finest Foley Artist. We'll be learning how Mitchell made a splash in the industry, from his time curating airplane playlists, to working shifts at the Grey Sloan Memorial Hospital and bowing before the Queen of Regency England.As Mitchell takes us on a tour of the Foley stage, we'll be living a day in the life of Bridgerton post-production, walking in the footsteps of the Diamond, playing skittles with Prudence and putting on our heels to dance the Quadrille six times over. We'll also be uncovering the secrets of Lady Whistledown's quill, an earthy afternoon tea and the great escape of a soon-to-be-monarch. What crucial role does a toy train play in the Polin love story? Why will we forever shudder at the thought of ravioli? And, most importantly, what does Francesca Bridgerton really think about SunChips?Turn up the volume and listen close: if there is one thing you should know by now, it is that this podcast cannot keep quiet for long. *Show NotesFollow Mitchell on Instagram: @soundslikemitchellFollow Mitchell on Reddit: u/soundslikemitchell*Show Notes: Crumbs Radio Times: Bridgerton casts Gracie McGonigal in Season 4 AlloCiné: Interview with Nicola CoughlanReddit: *Spoiler Alert* Rumoured casting for Season 4Reddit: Chris Fulton at Land ConYouTube: Trailer for Tudum 2025Shorty Awards: The Bridgerton Chaise speaks outGold Derby: Netflix put forward Bridgerton cast for Emmy considerationHarper's Bazaar: Nicola Coughlan honoured with Konbini Commitment Award at CanneseriesWhatsOnStage: Nicola Coughlan to star in ‘The Playboy of the Western World' at the National TheatrePlaybill: Hannah Dodd and Rob Madge join the London cast of ‘Cabaret'WhatsOnStage: Rob Madge's ‘My Son's A Queer (But What Can You Do?)' announces New York runWhatsOnStage: Kitty Devlin joins the cast of ‘The Show That Goes Wrong'Regent's Park Open Air Theatre: James Phoon joins ‘Shakespeare For Every Day of the Year: Live'UKTV: Release date announced for Bessie Carter's ‘Outrageous'*Follow UsPatreon Instagram⁠ ⁠ ⁠TikTok⁠YouTube

Thackeray's comic masterpiece, 'Vanity Fair', is a Victorian novel looking back to Regency England as an object both of satire and nostalgia. Thackeray's disdain for the Regency is present throughout the book, not least in the proliferation of hapless characters called George, yet he also draws heavily on his childhood experiences to unfold a complex story of fractured families, bad marriages and the tyranny of debt. In this episode, taken from our Close Readings podcast series 'Novel Approaches', Colin Burrow and Rosemary Hill join Tom to discuss Thackeray's use of clothes, curry and the rapidly changing topography of London to construct a turbulent society full of peril and opportunity for his heroine, Becky Sharp, and consider why the Battle of Waterloo was such a recurrent preoccupation in literature of the period.To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrnaIn other podcast apps: https://lrb.me/closereadingsnaSponsored Links:'Wahnfried' at Longborough Festival Opera: https://lfo.org.uk/ Hosted on Acast. See acast.com/privacy for more information.

Thackeray's comic masterpiece, Vanity Fair, is a Victorian novel looking back to Regency England as an object both of satire and nostalgia. Thackeray's disdain for the Regency is present throughout the book, not least in the proliferation of hapless characters called George, yet he also draws heavily on his childhood experiences to unfold a complex story of fractured families, bad marriages and the tyranny of debt. In this episode, Colin Burrow and Rosemary Hill join Tom to discuss Thackeray's use of clothes, curry and the rapidly changing topography of London to construct a turbulent society full of peril and opportunity for his heroine, Becky Sharp, and consider why the Battle of Waterloo was such a recurrent preoccupation in literature of the period.Non-subscribers will only hear an extract from this episode. To listen to the full episode, and all our other Close Readings series, subscribe:Directly in Apple Podcasts: https://lrb.me/applecrnaIn other podcast apps: https://lrb.me/closereadingsnaRead more in the LRB:John Sutherland on Thackeray:https://www.lrb.co.uk/the-paper/v22/n02/john-sutherland/wife-overboardRosemary Hill on 'Frock Consciousness':https://www.lrb.co.uk/the-paper/v22/n02/rosemary-hill/frock-consciousness Hosted on Acast. See acast.com/privacy for more information.

In this week's episode, we take a look at how research can both help and hinder writers, and offer tips for effective research for fiction. This coupon code will get you 25% off DRAGONTIARNA: OMNIBUS ONE at my Payhip store: DRAGONOMNI25 The coupon code is valid through April 14th, 2025. So if you need a new book to read for spring, we've got you covered! 00:00:00 Introduction and Writing Updates   Hello, everyone. Welcome to Episode 245 of The Pulp Writer Show. My name is Jonathan Moeller. Today is March 28th, 2025, and today we are looking at some of the challenges of research for writers. Before we get into that, we'll do Coupon of the Week, an update my current writing and audiobook projects, and then Question of the Week.   First up, Coupon of the Week. This week's coupon code will get you 25% off the ebook of Dragontiarna: Omnibus One at my Payhip store, and that is DRAGONOMNI25. This coupon code will be valid through April the 14th, 2025. So if you need a new ebook to read for spring, we have got you covered.   Let's have an update on my current writing projects. I'm currently 70,000 words into Shield of Battle, which I believe will put me on chapter 16 of 24, so I'm about two thirds of the way through the rough draft. I'm still hoping to have it out towards the end of April, if all goes well. I am 7,000 words into Ghost in the Corruption, which will be the sequel to Ghost in the Assembly, and hopefully that will be out sometime after Shield of Battle.   In audiobook news, recording is underway for both Shield of Deception and Ghost in the Assembly. Brad Wills will be recording Shield of Deception and Hollis McCarthy will be recording Ghost in the Assembly. So I am looking forward to both those audiobooks and that's where I'm at with my current writing and audiobook projects.   00:01:25 Question of the Week   Now it's time for Question of the Week, which is intended to inspire interesting discussions of enjoyable topics. This week's question, do you read comics books or graphic novels, Marvel, DC, indie manga, whatever? No wrong answers, obviously, including “I don't read comics.”   Ryan says: I don't read comic books, they just don't appeal to me. I prefer world building through writing as opposed to images, and I think you don't get the same feel for characters in a comic as you do in a novel.   Justin says: Once upon a time, I did read comics. It's been a long time since I knew of the mainstream comics interested me, sadly. I have read some manga in the last year, but any associated light novel wins handily. There are a few web comics to keep up with. I have bought books and merch from the Foglios for Girl Genius and Tayler for Schlock Mercenary, but even then, it's been years since my last purchase.   Juana says: I love Batman. End of story.   John says: I enjoy graphic novels, mainly for the art. Most recent read was The Wizard of Earthsea graphic novel, which is a true work of art published just this month.   Randy says: Marvel/DC stuff, not much anymore. I can sit down and read Peanuts, Pearls Before Swine, etc. collections anytime, probably not the “comics” you meant.   Jenny says: Rat Queens! So good!   Gary says: I don't read comics.   Bob says: Nope. Used to devour DC and Marvel as a kid. Wish I still had some of them. Probably worth big bucks now.   Tom says: I used to be a Marvel Zombie. Seriously, I have 20-30 long boxes filled with comics. I had to kick the habit though. Nowadays it's mostly just a few TV show based series. Would love to read some Frostborn graphic novels though!   And finally, Tracy says: I don't read comics.   For myself, I agree with many of the commenters where my answer is I don't read comics. It's not out of snobbery or disdain for the art form. It just doesn't speak to me or hold my interest. Of course not all art speaks to all people at all times. I was curious about this topic because I see people discussing comic books online all the time, but apparently the industry is in bad shape financially with multiple bankruptcies and closures and so forth. So I was wondering if comics were kind of more of a vintage art form that is less popular with younger generations as the older generations start to die off. But you never know. Things always are on a wheel and come around again.   00:03:36 Main Topic of the Week: Writing Adjacent Activities: Research   So now back to our main topic or to start with our main topic, research challenges for writers. As I mentioned two episodes ago, I'm working on a new podcast series about what I call writing adjacent activities. What do I mean by this? I'm talking about tasks that seem like they're part of the writing process but really belong in a different category. These tasks are important, but they can also be a pitfall if you spend too much time on them or don't use that time correctly.   In this series, we will focus on a few of these tasks and how they can benefit or hinder your writing process, even though they seem like good uses of time and may be beneficial. In this episode, we'll talk about research for fiction writing. How much research is necessary and how does research help? When does it get to the point where it becomes a pitfall instead of an asset? What are some things that work well for me when researching matters for my books?   First of all, why should writers even have to research in order to write a work of fiction? Why can't we just make up details since the characters and the plot are also made up? Why research?   Research can help provide crucial information for the plot. For example, of a spy novel set in World War II focuses on the Canadians battling the British is inaccurate to the point of farce. Knowing which countries were Axis and which were Allies is an important piece of research that should have been done for that story in advance of writing it. There's a British TV series called The Goes Wrong Show about a group of inept actors putting on bad plays that's quite funny, and one of the episodes has them putting on a play that is widely criticized for its lazy historical research, which includes such things as Winston Churchill being a prime minister during the Vietnam War. In the show, of course, this is played for comedy as part of how bad the actors are, but you don't want to do this in real life.   Research prevents factual errors that can distract readers. Some of the biggest examples of this are military terminology, the British peerage system, and information about weapons like guns. All of these things have very distinct details that avid readers in a certain genre will notice and be upset about if they're incorrect. You'll notice that successful thriller writers tend to put a lot of time into researching and lovingly describing various pieces of military hardware in their books.   For a genre like historical romance, the distinction seems unimportant to a modern American, but to a debutante in Regency England, the difference between marrying a baron and a duke is immense and the titles can't be used interchangeably in a work of historical fiction. For example, the duke and baron would be addressed differently and enter a room in a different order, but more importantly, in a status conscious marriage market like the debutante season, a duke would be a highly sought after potential husband while a baron might be less of a catch, especially if the family is not so wealthy. This detail changes the characters and plots completely. To return to the firearm examples, for one of the famous errors that sometimes new writers do is a character puts a silencer on a revolver, which doesn't work because you can't silence a revolver. Much of the noise comes from the rear of the weapon when it's fired in addition to the muzzle flash and muzzle noise, so there are little details like that (both for weapons and the British peerage system) that you do need to watch out for.   Research can give you ideas or add depth through details. For example, someone writing a romance novel about two rival managers in a theme park could discover that this particular theme park has an intricate underground system of tunnels that includes storage areas and staff break rooms. The writer realizes this would give good opportunities for the characters to have a conversation or confrontation in a more private place than outside of a busy ride. What are some good sources for research? Not all research is going to the library and looking at books that haven't been checked out in 10 years or so. Sometimes research for writing fiction is about checking or learning basic facts like street names, what the word is for cat in Spanish, or what a certain chain store was named in 2008. Making these details up only makes sense if the places and languages are completely fictional. Where more academic and in depth research comes in is when a high level of informational accuracy is required by genre convention, like in thrillers, historical fiction, a legal drama, or a medical thriller.   One of the criticisms of the relatively recent Disney Plus show She Hulk was that although She Hulk's profession is a lawyer and she spends all of her time doing lawyer things, none of the writers had a background in law and it seemed like their legal advisor was quite hands off in their approach. They tried to write around it instead, and the results were disappointing to both fans of the source material and new viewers because as I've often said before, you don't need to be totally accurate, but it needs to feel accurate. Anyone watching the show would know that the American legal system works nothing like the way it's portrayed, not even in the abstract.   One of the additional complaints about the show is that they missed the chance to showcase the character by barely showing them doing any actual work or to only show it as a farce, making She Hulk seem more frivolous and unlikable without her defining trait of being a really good lawyer. Trying to write around factual information is usually not the best solution, and it could hurt the reader's feeling of immersion or cause them just to feel annoyed.   For genres that require a high level of information accuracy, try starting with the general overview books and then looking at more specific information as needed. You don't need to become an expert in every piece of medieval weaponry to write a historical or a fantasy book, but you do need to know the basics in order to have the characters use them in a convincing way.   As I've said before, I often talk about how verisimilitude is the goal in writing. You need to know and share just enough to make the reader feel convinced and have the characters be able to act in a believable way in the world there inhabiting.   Often writers are advised to use YouTube for research because it's free and usually easy to understand. However, YouTubers usually don't cite their sources and incorrect information often gets reshared this way. That said, it can still be useful. For example, if we go back to our example of the theme park romance novel, the writer could find YouTube footage of what the line looks like for a certain ride without having to go see it in person and determine from the footage if a child could really climb over a railing to escape their parents, for example, if that was one of the plot contrivances the writer wanted to put in the book.   I would strongly recommend you don't use a LLM program like ChatGPT for research, and if you do, you should cross-reference and double check its answers for accuracy because ChatGPT essentially makes stuff up. Unlike a search engine ChatGPT essentially guesses at its answers instead of retrieving them. For example, if you ask ChatGPT who the spouse of one reality star is, it confidently lists her brother as her husband because the names are very frequently paired and they had the same last name, ChatGPT made a guess and that guess was quite wrong. It's also important to note that it's not trained on recent information. It won't, for example, be able to tell you on what date a movie is going to come out in two weeks because it may not have access to that information yet, and it might instead give you the premiere date for previous films or guess at a date.   How much research is necessary and when is it a pitfall instead of an asset? Too much research can keep you from starting to actually write. It's a real temptation if you enjoy research to spend months bogged down in every possible source of information. It's also good to take a step back, look at your book's outline, and determine what's truly needed. When you're writing, you can add a note, “research this” and note about what fact you need to look up and then keep going. It isn't a great idea to stop writing every time you need to look up a specific fact. Doing that can often lead to research spirals that take too much time and then you lose your writing momentum.   Having researched too much can also drag down the plot with a lot of info dumps. We've all encountered books where the writer very clearly put in a lot of research into a very specific topic, so they were going to put all that research into the book, even if it was to the book's detriment. It's natural to want to use as much of your research as possible, but in reality, the only research that is good for the reader is what benefits the plot or adds to the feeling of verisimilitude without stopping the plot in its tracks.   What are some things that have worked for me when researching subjects for my books? Because I write fantasy and science fiction, I tend not to do that much research. Usually it's if I need to look up a specific fact to increase the verisimilitude. I had to do that quite a bit with Silent Order because that's science fiction and therefore a bit more fact-based. So I wanted to make sure I had things like the speed of light in kilometers or the amount of kilometers in a light year, for example, make sure that I had those numbers accurate. However, when I'm writing and there's something I want to look up later, I tend to literally just type “look this up later” and then keep going in the book.   This actually happens quite a bit in the Cloak Games and Cloak Mage series because while that's set in a fantasy setting, that fantasy setting is a version of our own world. I do need to look things up reasonably frequently, like where this town is located or how long you would take to fly from Chicago to Boston, for example. So very often I will just type “look this up later”, and then in the editing process, I will actually look that up and make sure that I have a good information source, not ChatGPT, and then add that fact into the book as necessary.   One thing I would recommend watching out for is that if the entire plot of the book hinges on a certain fact, like for example, say that you have in your book, the entire plot revolves around the fact that on average it takes about seven to eight hours to drive from Milwaukee to Detroit, it's a good idea to look it up and make sure that is actually true. If for example, you, let's talk hypothetically, if you weren't familiar with the geography of the United States and you had the plot being that it takes only three hours to drive from Milwaukee to Detroit, your book will not work because anyone remotely familiar with the American Midwest knows that if you are driving from Milwaukee to Detroit around the southern side of Lake Michigan, it takes at least seven hours and depending on traffic conditions, it can easily go much higher very quickly. So if you do have a fact around which the entire plot of your book hinges, it's a good idea to research that fact first and make sure that's accurate, so you can avoid the scenario where you write the book and then people are laughing at you because you wrote it only takes three hours to drive from Milwaukee to Detroit.   So to sum up, research in fiction is very different from in the academic world, but that doesn't mean that's not important. Like so many things in life, it's all about balance. You don't want to go too far down the research rabbit hole to the detriment of finishing your book, but you do need enough information to maintain verisimilitude, but not an excess of detail that will derail the plot or keep you from finishing the book you want, just enough that it makes sense.   An example for that for me would be one of the plot lines in Cloak of Spears which revolves around nuclear fusion. The book sold pretty well and people liked it, but I did get a email from an expert in nuclear fusion saying that the way I had described things is not actually how nuclear fusion works, and the fact of the matter was that thankfully for that book, it didn't matter because the actual intricacies of how nuclear fusion works is beyond my grasp and frankly beyond the grasp of most people. So I'd included enough verisimilitude to that the book worked for most people, but it was not enough to fool an actual expert in nuclear physics. So that brings me to a Abraham Lincoln quote I remember where he says, “you can fool some of the people some of the time and the rest of the people some of the time, but you can't fool all of the people all of the time.” And that is true with research and fiction. You'll want to do just enough to get verisimilitude so that you can fool most of the people, but you can't always expect to fool everybody. If you are writing about something which has subject matter experts, you may find that you'll have the subject matter experts writing to you and pointing things out. But what's important is that you do it well enough to fool most of the general audience, if not the subject matter experts.   So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes at https://thepulpwritershow.com. If you enjoyed the podcast, please leave a review on your podcasting platform of choice. Stay safe and stay healthy and see you all next week.

In this special episode, I am joined by my copyeditor, Sara Israel of Thimble Editorial, to celebrate the release of my latest novel, THE MISS WITHOUT A MISTER! Sara and I discuss the role of families in happily ever afters, the dynamics of power and privilege in Regency England, and how we aim for accuracy in my language for historical romance novels.   00:00 Introduction and Special Guest Announcement 00:45 Meet Sara Israel: The Copy Editor 01:35 Prologue Reading: The Miss Without a Mister 13:40 Sara's Questions: Themes and Tensions 17:56 Exploring Power and Privilege 21:59 Family Dynamics and Lord Preston's Role 23:26 Character Development and Seeds Planted 24:18 Exploring Parental Conflict 26:14 Parenting Choices and Control 27:05 Family Dynamics and Sibling Relationships 30:22 Maturing Love Stories 32:14 Writing Craft and Metaphors 35:22 Historical Language Choices 37:26 Editing Process and Vulnerability 40:16 Fun 'Would You Rather' Questions 42:24 Conclusion and Contact Information   Find out more about Sara Israel and Thimble Editorial at www.thimbleeditorial.com    HRS is an affiliate of Libro.fm! Sign up for a new monthly membership and get three audiobooks for the price of one with code HISTORICAL! (As an affiliate, HRS may earn a portion of your purchase, for which we thank you!) Sign up here: https://tidd.ly/3WrMY0w   Find out more about your host Katherine Grant: Instagram (@katherine_grant_romance) TikTok (@katherinegrantromance) Facebook (@Katherinegrantromanceauthor) Goodreads (https://www.goodreads.com/author/show/19872840.Katherine_Grant) Bookbub (https://www.bookbub.com/authors/katherine-grant)   Follow HRS on social media! TikTok (@historicalromancesampler) Instagram (@historicalromancesampler) 

Christian Historical Fiction Talk is listener supported. When you buy things through this site, we may earn an affiliate commission.Become a patron and enjoy special perks and bonus content.Connilyn Cossette and I had a great time catching up and talking about her new book, Shield of the Mighty. She tells us more about the entire series, why story is important, the cultural context of her books, and how she feels about coming to the end of her homeschooling career. Patrons will hear about her favorite writing spot and why she loves it so much.Shield of the Mighty by Connilyn CossetteCaptured by the Philistines as a young boy, Zevi has grown into a formidable warrior. As a captain in King Saul's army, he is assigned a crucial mission: Recruit soldiers, gather tribute for the royal coffers, and find talented artisans for the king's court. But when he is sent to Maresha, the town he was forced to leave as a child, he faces a startling truth--the elder council rejects King Saul and his campaign against their enemies.Yochana, a widow and skilled woman of business, is captivated by a stranger who enters her perfume shop. Upon discovering he is not only a soldier but a captain responsible for enlisting young men to die in battle, fury and pain from her past loss resurfaces, threatening to consume her. But when Zevi's actions in Maresha entangle Yochana in his radical scheme, they're forced to confront present dangers and past scars.Embark on a journey through ancient Israel with bestselling and award-winning author Connilyn Cossette in this exhilarating tale of vengeance, justice, and healing.Get your copy of Shield of the Mighty.Get the first book of the series, Voice of the Ancient.Meet Connilyn:“She is too fond of books, and it has addled her brain.”― Louisa May AlcottI was that girl. The one with her nose in books all the time. The one with a stack of library books up to her chin. The one who got caught reading under her desk in school (usually during math class). Among all those lovely books that 'addled my brain' as a young girl, the ones that became my best friends were the historical novels—the ones whose rich details and long-ago adventures took me to Regency England, Ancient Israel, the Civil War Era South, hidden rooms in WWII Amsterdam, Colonial America and into the Wild West. It was these stories that brought history to life in a way that schoolbooks never could, and fueled a desire to imagine myself in these times and places that would eventually spill over into my own writing. Since my first book was published in 2016 my books have appeared on numerous bestseller lists, have won both Christy and Carol Awards and have sold thousands of copies all over the world in several languages.And none of it would have ever happened without those first knee-shaking steps of faith and a God whose faithfulness and goodness far outweighs my doubts and insecurities.Thank you for stopping by, I'd love to connect with you on Facebook, Pinterest, or Twitter and you are welcome to drop me an email at connilyn@connilyncossette.com. Don't forget to sign up for my newsletter that will bring you exciting updates and opportunities for giveaways and sales!Visit Connilyn's website.

These novels transport readers to different eras, from the elegant ballrooms of Regency England in Jane Austen's "Pride and Prejudice" to the tumultuous American Civil War in Margaret Mitchell's "Gone with the Wind." Authors like Diana Gabaldon, with her "Outlander" series, blend historical accuracy with compelling characters and time-traveling adventures, while Philippa Gregory's Tudor novels delve into the intrigue and romance of royal courts. These books often feature strong, complex heroines and dashing heroes, navigating societal constraints and personal dilemmas to find love. Through evocative prose and meticulous research, historical romance novels offer a lush, immersive escape into the past, exploring themes of love, honor, and destiny amidst the backdrop of history's most captivating periods.

 What better book option for Jane Austen July could you ask for than a time travel, time-slip novel full of all the romance and elegance of Regency England through the eyes of a contemporary US protagonist? Listen in to learn more from Linore Rose Burkard! note: links may be affiliate links that provide me with a small commission at no extra expense to you.  Beware shawls! You never know what they'll do to you?  Linore Rose Burkard has created a fabulous series full of wonderful characters and unique settings that converge in this portal time-travel series.     Forever Lovely by Linore Rose Burkard  This sequel can be read as a stand-alone. 1819, England Miss Margaret Andrews' sister disappeared into the future three years ago and Margaret hasn't seen her since. Julian St. John brings her to visit, but only for a day since his wife Claire is about to give birth to their first child. He doesn't know Margaret's real desire is to find a modern invention to bring back with her. A bluestocking by nature and lacking her sister's famous beauty, Margaret knows she must make her way in society by becoming an inventress. But when the tallit, the magical time-travel shawl, goes awry, she finds herself alone and stranded in 21st-century New York City! Present Day, Manhattan Stewart Russell is a grad student studying early British female writers when he meets Margaret at a Jane Austen Society Conference in New York. Margaret is mistaken for an attendee but fits right in. Stewart is thrilled by her knowledge of the writers he's studying, almost as much as her effortless acting with the speech and manners of Jane's day. Until she claims to be from Jane's day! Worse, he is a wanted man due to a mix-up, and time is running out. Margaret longs to keep him safe from the blackguards pursuing him, but first she must convince him she really is from the past. But when she can't even get herself back to 1819, how can she hope to bring Stewart too? It's a race against time, and she must find a way before the unthinkable happens! If you enjoyed the time-travel romance of Outlander, then you'll love Margaret and Stewart's story in Forever Lovely. Buy now before the price changes! Learn more about Linore on her  WEBSITE and follow her on GoodReads and BookBub. Don't miss out on Linore's book (and the other eleven) in the Once Upon a Courtship collection. Like to listen on the go? You can find Because Fiction Podcast at: Apple  Castbox  Google Play Libsyn  RSS Spotify Amazon and more!

The Doctor and Ruby cross paths with a brusque, brooding bounty hunter while contending with nefarious shapeshifters in Regency England. The post Rogue first appeared on Gallifrey Public Radio.

In episode 55, we talk with DAMIANNE “DAMI” SCOTT, creator of Black Girl Loves Jane, a Facebook group and blog about the Shonda Rhimes Shondaland series BRIDGERTON on Netflix. BRIDGERTON (now in its 3rd season plus Shonda Rhimes's prequel/origin story, QUEEN CHARLOTTE: A BRIDGERTON STORY) is based on the characters in Julia Quinn's series of historical romance novels set in Regency England. The stories center an aristocratic family of 8 siblings and their widowed mother who is navigating the marriage market with and for her children.  One can't help but wonder how the BRIDGERTON series is being received by passionate fans of Jane Austen and recent adaptations of her 19th century novels for film and limited series like PRIDE AND PREJUDICE, SENSE AND SENSIBILITY, and SANDITON (inspired by an unfinished novel). What has been the BRIDGERTON series's impact on fan perceptions of the Regency era and the diversity of the society in that time? What would Jane think of the ton? Ep. 55 Transcript link is available on the podcast website at https://michonbostongroup.com/bostonsisters/episode55-bridgerton-blackgirllovesjane PLEASE NOTE: TRANSCRIPTS ARE GENERATED USING A COMBINATION OF SPEECH RECOGNITION SOFTWARE AND HUMAN TRANSCRIBERS, AND MAY CONTAIN ERRORS. TIMESTAMPS 2:28 - Bridgerton Season 3 recap (episodes 1 - 4) 6:57 Damianne "Dami" Scott and Black Girl Loves Jane (Austen) 12:55 - Representation and belonging in historical literature 18:14 - Race and diversity in historical dramas 24:39 - What would Jane (Austen) think of "the ton?" 29:39 - "The Bridgerton Effect" on diversity in romantic fiction 37:25 - Favorite and not-so-favorite characters in Bridgerton 48:52 - Can friendship lead to romantic love? 54:21 - Time travel and time capsule 1:00:41 - Epilogue - Boston Sisters riff on Austen and Bridgerton 1:14:42 - Share your thoughts about Bridgerton 3 STAY ENGAGED with HISTORICAL DRAMA WITH THE BOSTON SISTERS SUBSCRIBE to the podcast on your favorite podcast platform LISTEN to past past podcasts and bonus episodes SIGN UP for our mailing list SUPPORT this podcast on Spotify or SHOP THE PODCAST on our affiliate bookstore Thank you for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/historicaldramasisters/support

On the latest episodes of the 15th Doctor, Dom Bettinelli, Jimmy Akin, and Fr. Cory Sticha discuss the cautionary tale of social media bubbles and class/race insularity as well as the Doctor's jaunt in Regency England with an awkward, sudden relationship.

On the latest episodes of the 15th Doctor, Dom Bettinelli, Jimmy Akin, and Fr. Cory Sticha discuss the cautionary tale of social media bubbles and class/race insularity as well as the Doctor's jaunt in Regency England with an awkward, sudden relationship. The post Dot and Bubble and Rogue appeared first on StarQuest Media.

On this episode, we return to the alternate history Regency England of Netflix's Bridgerton, which just released the first half of its third season, to follow the love story of fan favorite Penelope... and also Colin I guess. Will this steamy tale of friends becoming lovers live up to the hype to rise as good pop?What's Popping? - Girls5eva, Evil Does Not Exist, Kill Her Twice, Top ChefFollow our hosts:Marvin Yueh - @marvinyuehJess Ju - @jessjutweetsHanh Nguyen - @hanhonymousFollow the show and engage with us at @goodpopclubPart of the Potluck Podcast CollectiveProduced by HappyEcstatic Media

Send me a roguish messageFind out why 69 is just a number to Regency England's most rampant geriatric - William Douglas, 4th Duke of Queensberry, 'Old Q'.It's a heart warming tale of hot chocolate, comfy blankets, early nights and Greek-themed orgies. How does a man in his 80s 'please' the ladies?How fast can you drive a carriage?Why should you never accept a milkshake from this man?What would Horatio Nelson say?The answer to all these questions and a few more can be found in episode  39 of Rogues Gallery Uncovered - The Podcast of Bad Behaviour in Period Costume. Thanks for listening. Stay Roguish!Email: simon@roguesgalleryonline.com Exclusive Shop: HERE Sign up to Newsletter: HERE Support on Patreon: HERE Find me on Twitter, Facebook, Instagram

Explore the timeless charm of Jane Austen's beloved comedy of manners Emma (1815) in this episode of the Classical Mind podcast. Delve into the intricate web of social dynamics, witty dialogue, and romantic entanglements as our hosts dissect the nuances of this literary masterpiece. From Emma Woodhouse's matchmaking escapades to the complexities of love and society in Regency England, join us for a thought-provoking discussion that offers fresh insights into Austen's enduring classic. Whether you're a devoted Austen aficionado or a newcomer to her world, this episode promises to enrich your understanding and appreciation of Emma in a way that resonates with both heart and intellect. Tune in now and embark on a journey through the pages of one of literature's most cherished works.Endnotes:* Junius: Howard's End by EM Forester* Wesley: Emma (2020) Get full access to The Classical Mind at www.theclassicalmind.com/subscribe

In this episode, from the Dublin Festival of History 2023, Anne Chambers tells us about Lord Sligo - from a youth of hedonistic self-indulgence in Regency England, to a reforming, responsible legislator and landlord, Sligo became enshrined in the history of Jamaica as ‘Emancipator of the Slaves' and in Ireland as ‘The Poor Man's Friend'. Anne Chambers is a biographer, novelist, and screenwriter. This episode was recorded at the Central Library, on October 4, 2023.The Dublin Festival of History is brought to you by Dublin City Council, and organised by Dublin City Libraries, in partnership with Dublin City Council Culture Company. Hosted on Acast. See acast.com/privacy for more information.

Since its immediate success in 1813, Pride and Prejudice has remained one of the most popular novels in the English language. Jane Austen called this brilliant work "her own darling child" and its vivacious heroine, Elizabeth Bennet, "as delightful a creature as ever appeared in print." The romantic clash between the opinionated Elizabeth and her proud beau, Mr. Darcy, is a splendid performance of civilized sparring. And Jane Austen's radiant wit sparkles as her characters dance a delicate quadrille of flirtation and intrigue, making this book the most superb comedy of manners of Regency England.https://www.gutenberg.org/ebooks/1342Credit:Music-Touch and SoundComposed by Barcelona based composer and pianist Juan Sánchez. --- Support this podcast: https://podcasters.spotify.com/pod/show/skanzler/support

Since its immediate success in 1813, Pride and Prejudice has remained one of the most popular novels in the English language. Jane Austen called this brilliant work "her own darling child" and its vivacious heroine, Elizabeth Bennet, "as delightful a creature as ever appeared in print." The romantic clash between the opinionated Elizabeth and her proud beau, Mr. Darcy, is a splendid performance of civilized sparring. And Jane Austen's radiant wit sparkles as her characters dance a delicate quadrille of flirtation and intrigue, making this book the most superb comedy of manners of Regency England.https://www.gutenberg.org/ebooks/1342Credit:Music-Touch and SoundComposed by Barcelona based composer and pianist Juan Sánchez. --- Support this podcast: https://podcasters.spotify.com/pod/show/skanzler/support

Since its immediate success in 1813, Pride and Prejudice has remained one of the most popular novels in the English language. Jane Austen called this brilliant work "her own darling child" and its vivacious heroine, Elizabeth Bennet, "as delightful a creature as ever appeared in print." The romantic clash between the opinionated Elizabeth and her proud beau, Mr. Darcy, is a splendid performance of civilized sparring. And Jane Austen's radiant wit sparkles as her characters dance a delicate quadrille of flirtation and intrigue, making this book the most superb comedy of manners of Regency England.⁠https://www.gutenberg.org/ebooks/1342⁠Credit:Music-Touch and SoundComposed by Barcelona based composer and pianist Juan Sánchez. --- Support this podcast: https://podcasters.spotify.com/pod/show/skanzler/support

his title was released in November 2023. It will be exclusively available to buy from the Big Finish website until 31 December 2023, and on general sale after this date. The Doctor is about to gain a new best friend. Lady Audacity Montague has carved her own path in Regency England. She has also been watching the heavens, wondering what lies beyond. When the Doctor gatecrashes one of her famous society balls, Audacity is given the chance to find out... The Devouring by Lisa McMullin (1 part) Lady Audacity Montague - strong-minded and unconventional - has been gazing at the stars. But unfortunately for her - and everybody she knows - they've been staring back. She's made inadvertent, intergalactic eye contact with a malevolence known as The Devouring. Now it wants to consume her. But Audacity is already consumed. With rage. The Great Cyber-War Part 1 by Tim Foley (1 part) The Great Cyber-War. Humanity and her allies versus the horror of the Cybermen. This is no place for the Doctor to take his new best friend. But on the Aurum, the war seems far away. There are parties and cupcakes and all the gold of Voga - and not a Cyberman to be seen... The Great Cyber-War Part 2 by Tim Foley (1 part) The Cyber-War has come to the Aurum. The best hope of survival lies with the great Oberon Fix - the finest scientific mind of his generation, working to protect humanity. But the Doctor is worried that his own presence will affect history's outcome. And for Audacity, life with the Doctor will never be the same again...  

Halloween Special: Manners & Madness Episode 3 - A dinner party "It's a truth, universally acknowledged that an investigator in possession of a mystery, must be in want of an eldritch horror!" For the spooky season, Dugongs and Seadragons is proud to present the finale of a special 3-part series set in Regency England.  Our investigators Lydia (Erin Anderson) and Alistair (Andrew Kornblatt) found what seemed to be a severed arm and a mysterious tunnel in the crypt of the church. What will they discover, and will they be able to make it back to the vicarage in time to dress for dinner? To listen to the creation of the characters and Lydia and Alistair's first adventure together, please go to https://www.patreon.com/DugongsAndSeadragons The adventure used the Call of Cthulhu 7th Edition rules, and the Regency Cthulhu and Hosts and Hostility books published by Chaosium. Background music is by Tabletop audio.

Halloween Special: Manners & Madness Episode 2 - An investigation "It's a truth, universally acknowledged that an investigator in possession of a mystery, must be in want of an eldritch horror!" For the spooky season, Dugongs and Seadragons is proud to present a special series set in Regency England.  Join our investigators Lydia (Erin Anderson) and Alistair (Andrew Kornblatt) in 1790s England. After a midnight scare and a fitful night's sleep, the investigators play a visit to the village. What will they discover..? To listen to the creation of the characters and Lydia and Alsitair's first adventure together, please go to https://www.patreon.com/DugongsAndSeadragons The adventure used the Call of Cthulhu 7th Edition rules, and the Regency Cthulhu and Hosts and Hostility books published by Chaosium. Background music is by Tabletop audio.

"It's a truth, universally acknowledged that an investigator in possession of a mystery, must be in want of an eldritch horror!" For the spooky season, Dugongs and Seadragons is proud to present a special series set in Regency England.  Join our investigators Lydia (Erin Anderson) and Alistair (Andrew Kornblatt) in 1790s England, as they receive an invitation to visit a friend at a nearby vicarage, for a pleasant holiday in the Somerset countryside... To listen to the creation of the characters and Lydia and Alsitair's first adventure together, please go to https://www.patreon.com/DugongsAndSeadragons The adventure used the Call of Cthulhu 7th Edition rules, and the Regency Cthulhu and Hosts and Hostility books published by Chaosium. Background music is by Tabletop audio. 

William Weare's murder was brutal, gruesome, and a source of complete fascination for the public, and it set the stage for illustrated crime reporting. Research: Cunningham, Alice. “Radlett: The horrifying 19th century murder that put Hertfordshire's most affluent town on the map.” Hertfordshire Mercury. 11/18/2020. https://www.hertfordshiremercury.co.uk/news/hertfordshire-news/radlett-horrifying-19th-century-murder-4708130 Smith, Daniel. “'Murder jug' from 19th Century sells for big money.” Leicester Mercury. 8/20/2022. https://www.leicestermercury.co.uk/news/uk-world-news/murder-jug-19th-century-sells-7487222 Muir, John. “Seven Men Sentenced to Die.” From Rare Books Collections, National Library of Scotland.” https://digital.nls.uk/broadsides/view/?id=14718 “A narrative of the mysterious and dreadful murder of Mr. W. Weare : containing the examination before the magistrates, the Coroner's Inquest, the confession of Hunt, and other particulars previous to the trial, collected from the best sources of intelligence, with anecdotes of Weare, Thurtell, Hunt, Probert, and others, and a full report of the trial, and subsequent execution at Hertford.” London. 1824. https://play.google.com/books/reader?id=Kq5XAAAAcAAJ&pg=GBS.PA1 “The horrid effects of gambling, exemplified in the atrocious murder of Mr. William Weare, who was first treacherously inveigled to and then cruelly butchered by his associates, in Gill's Lane, Herts : together with The remarkable trial and conviction of John Thurtell and Joseph Hunt, for the murder : including Thurtell's eloquent defence, his demeanor previous to and throughout the trial, and a particular account of his c.” Via JSTOR. https://www.jstor.org/stable/community.32830888 Fraser, Angus. "Thurtell, John (1794–1824), murderer." Oxford Dictionary of National Biography. September 23, 2004. Oxford University Press. Date of access 11 Sep. 2023, https://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-27414 Wheeler, Susan. “Medicine in Art: The Lancett Club at a Thurtell Feast', by Thomas Rowlandson.” Journal of the History of Medicine and Allied Sciences. July 2002. Vol. 57, No. 3. Via JSTOR. https://www.jstor.org/stable/24623701 Digby, Everard. “Somme Inns of Chancery.” From “The Commonwealth Law Review.” C. F. Maxwell. January 1906. https://play.google.com/store/books/details?id=pQBCAQAAMAAJ Borowitz, Albert. “The Thurtell-Hunt Murder Case: Dark Mirror to Regency England.” Louisiana State University Press. 1987. "Inns of Court." Britannica Library, Encyclopædia Britannica, 27 May. 1999. Accessed 13 Sep. 2023. Rider, Clare. “The Inns Of Court And Inns Of Chancery And Their Records.” The Inner Temple. https://www.innertemple.org.uk/who-we-are/history/historical-articles/the-inns-of-court-and-inns-of-chancery-and-their-records/  See omnystudio.com/listener for privacy information.

British author Neil Blackmore's third novel, ‘The Intoxicating Mr Lavelle', was shortlisted for the Polari Prize for LGBT+ fiction, while his 2021 novel, ‘The Dangerous Kingdom of Love', was included in ‘The Times' list of the best historical fiction. He speaks to Georgina Godwin about ‘Radical Love', published earlier this year, and attitudes to sexual identity and morality in Regency England. He also talks about his unexpected popularity among German readers, his 20-year hiatus from writing and what it truly means to be radical.See omnystudio.com/listener for privacy information.

Pair Jane Austen with Agatha Christie and make it funny--Author Julia Seales joins me in the corner to chat about A Most Agreeable Murder. Tune in to learn when our collective true crime obsession really started. Hear what inspired Julia to choose the Regency Era for her murder mystery. Find out what women in southern towns and Regency England have in common. Listen wherever you listen to podcasts. Find Julia at https://www.instagram.com/juliamaeseales Help the podcast gain visibility. Subscribe to the podcast on your favorite podcast app! Leave a 5-star rating or review! Web: ⁠⁠https://thecozycornerwithalexiagordon.com/⁠⁠ Facebook: ⁠⁠https://www.facebook.com/thecozycornerpodcast⁠⁠ Instagram: ⁠⁠https://www.instagram.com/podcast_cozy/⁠⁠ Pinterest: ⁠⁠https://www.pinterest.com/alexia_gordon/the-cozy-corner-with-alexia-gordon-podcast/⁠⁠ Find me, your podcast host, at: Web ⁠⁠https://alexiagordon.net/⁠⁠ Facebook: ⁠⁠https://www.facebook.com/AlexiaGordon.writer⁠⁠ Instagram: https://www.instagram.com/alexiagordonauthor/        Newsletter: ⁠⁠https://mailchi.mp/alexiagordon/poc2pov⁠

Pair Jane Austen with Agatha Christie and make it funny--Author Julia Seales joins me in the corner to chat about A Most Agreeable Murder. Tune in to learn when our collective true crime obsession really started. Hear what inspired Julia to choose the Regency Era for her murder mystery. Find out what women in southern towns and Regency England have in common. Listen wherever you listen to podcasts. Find Julia at https://www.instagram.com/juliamaeseales Help the podcast gain visibility. Subscribe to the podcast on your favorite podcast app! Leave a 5-star rating or review! Web: ⁠https://thecozycornerwithalexiagordon.com/⁠ Facebook: ⁠https://www.facebook.com/thecozycornerpodcast⁠ Instagram: ⁠https://www.instagram.com/podcast_cozy/⁠ Pinterest: ⁠https://www.pinterest.com/alexia_gordon/the-cozy-corner-with-alexia-gordon-podcast/⁠ Find me, your podcast host, at: Web ⁠https://alexiagordon.net/⁠ Facebook: ⁠https://www.facebook.com/AlexiaGordon.writer⁠ Instagram: https://www.instagram.com/alexiagordonauthor/        Newsletter: ⁠https://mailchi.mp/alexiagordon/poc2pov

Gavin I am the Duke of Tears, known for my skill with a whip and my penchant for pain. I never wanted a wife. I wanted a submissive. But it would seem, what I want and what is required of me are two different things. Vampire politics are a lot like those of Regency England, and now that Roslyn Blackthorne has thrown herself at my feet to save her family, I understand duty better than I ever thought I would. Although, she does look so pretty on her knees for me. Perhaps it does not need to be either or. This marriage could be convenient in more ways than one. Rosie I shouldn't like to see my new husband's predilections on display, but when I uncover his dark secrets, all I can focus on is how badly I want to be on the other end of his whip's lash. Gavin was supposed to be nothing more than a way to end our families' centuries-long feud. Instead, he's opened my eyes to a world I never knew existed. One I long for. I'd thought becoming a Donoghue would require sacrifice, but if my body craves what only he can give me, is it really? His family is twisted, but the connection we share might make it all worthwhile. The real question is, do I stay and become his duchess, or do I save myself from them, and run? Promised to the Night is the prequel to a new spicy why choose series by USA Today Bestselling authors K. Loraine and Meg Anne set in their bestselling Mate Games universe. Are you ready to play? Giveaway: https://tinyurl.com/zmp4paxp The Mate Games (Pestilence Series): https://tinyurl.com/3h8m7z3v https://themategames.com/ ♥ ♥ ♥ READ ME ROMANCE - Patreon: https://bit.ly/3IYk16H RMR Website: https://bit.ly/3ifFIyw Weekly New Release: https://bit.ly/30iDete Follow Read Me Romance on Instagram: https://geni.us/uUVdVeY Join Read Me Romance Headquarters on FB: https://geni.us/IdL7B Read Me Romance Theme Song by L.B. Ballard Podcast Production by Lola

In this mini episode, Brittany of the Post Road Library shares one of her favorite reads of the year: The Secret Lives of Country Gentlemen by KJ Charles, a historical romance set in Regency England.   

Today, we have the audio from our in-store event with Diana Biller, the author of The Widow of Rose House, The Brightest Star in Paris, and, most recently, Hotel of Secrets. Much like the book, Diana is brilliant and funny and gives good banter. She talks about the time a professor called her essay on jury selection “elegant”, taking herself seriously as an artist, the underrated hotness of ethical men, writing historical romances in uncommon settings and the limitations of seeing history exclusively through the lens of Georgette Heyer's interpretation of Regency England, and Diana's approach to research and writing. Then Diana takes some really excellent audience questions, and, ends, of course, with some books she's loved recently.

A cautionary tale about the evils of interference, matchmaking and good intentions turned awry, Emma is the study of a young woman raised without sufficient discipline or occupation. Handsome, clever and rich, Emma is the epitome of what a young woman should be in Regency England, except for the fact that her indulgent father and lack of a mother have left her spoiled and used to getting her own way. Emma's only true critic and voice of reason is Mr. Knightley, a gentleman whose opinion she values greatly. She delights in meddling in the romantic affairs of everyone around her, thinking celibacy is a privilege she alone can enjoy by virtue of her social standing. In the end, Emma is forced to acknowledge both her own lack of insight into the motives of others, and admit her need for a companion who can challenge her to become a better woman. (Summary by Moira Fogarty) --- Support this podcast: https://podcasters.spotify.com/pod/show/librivox1/support

Best-selling novelist Charles Palliser is best known for his debut novel, The Quincunx, a vast mystery set in Regency England that deftly combines Dickensian elements with contemporary techniques such as the use of unreliable narrators. Published in 1989, after 12 years of research and writing, this 800 page tour de force became an international best-seller. The Anglo-American Palliser was praised for his intricate plotting, vivid characters, and a portrayal of London in the early 19th century so shockingly realistic that Dickens wouldn't have dared expose social conditions with such brutal honesty. Palliser has published four other successful novels including Betrayals, The Unburied and Rustication. Palliser's newest novel Sufferance is projected for release near the end of 2023.

Let's talk about sex... In this episode I am joined by Annie Harrison from the Amorous Histories Podcast, as we explore the book Pride And Promiscuity: The Lost Sex Scenes of Jane Austen by Arielle Eckstut. We chat about Lizzy & Darcy getting it on in the bushes, Henry Tilney's cupboard full of sex toys and Emma Woodhouse taking some ‘personal time' before dinner… The history of Sex in Regency England is as vast as it is fascinating. If you have ever wanted to learn more about London's 18th Century Gay clubs,  the surprisingly eco friendly condom (bow included), and whether women were really as oblivious as Daphne Bridgerton - this episode is for you! Please take my description as pre warning, I can't be held liable if you decide to play this episode in the office, on a school run or without headphones on the train...

What was society's attitude towards female writers in Regency England? How far did class affect the hopes of young couples looking to be wed? And did people really spend all day gossiping about grand fortunes, illustrious estates and ruinous affairs? Speaking with Lauren Good, Dr Lizzie Rogers answers listener questions on Jane Austen's England – from the delights of a Regency ball to the flourishing ideal of marrying for love. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the One Shot Derby, the character creation competition between three different TTRPGs! After we play all three, You, The People, will vote on the game and setting in which we'll play a one shot. First up, sisters try to write books and avoid tragedy in Regency England in Battle of the Brontes! Check out the expansion that Eric wrote for this episode, Battle of the Brontes: WELCOME TO THE SENSIBILITY-DOME, and the original game by Oliver Darkshire.   Schedule - January 10: Oneshot Derby 2 - January 17: Oneshot Derby 3 - January 24: Oneshot Derby Afterparty + Voting Opens - January 31: Campaign 3 begins!!   Sponsors - Battling Blades, where you can get 20% off your order at BattlingBlades.com using code JointheParty at check out. - Brilliant, the best way to learn math, science, and computer science interactively. The first 200 people to visit brilliant.org/jointheparty will get 20% off Brilliant's annual premium subscription. - Betterhelp, where you can get 10% off your first month at betterhelp.com/jointheparty   Find Us Online - website: jointhepartypod.com - patreon: patreon.com/jointhepartypod - twitter: twitter.com/jointhepartypod - facebook: facebook.com/jointhepartypod - instagram: instagram.com/jointhepartypod - tumblr: jointhepartypod.tumblr.com - merch & music: jointhepartypod.com/merch   Cast & Crew - Game Master, Co-Producer: Eric Silver - Co-Host, Co-Producer: Brandon Grugle - Co-Host, Co-Producer: Julia Schifini - Co-Host, Co-Producer: Amanda McLoughlin - One-Shot Derby Editor and Sound Designer: Mischa Stanton - Artwork: Allyson Wakeman - Multitude: multitude.productions   About Us Join the Party is an actual play podcast with tangible worlds, genre-pushing storytelling, and collaborators who make each other laugh each week. We welcome everyone to the table, from longtime players to folks who've never touched a roleplaying game before. Hop into the Camp-Paign, our Monster of the Week story set in a weird and wild summer camp, or marathon our D&D games with Campaign 2 for a modern, sci-fi superhero game and Campaign 1 for a high fantasy story. And once a month we release the Afterparty, where we answer your questions about the show and how we play the game. New episodes every Tuesday.

In this Very Special Episode, we sprinkle the show with some Sugar Plum Fairy pixie dust and join our heroines in making merry via food and drink during Christmastide. From Laura Ingalls Wilder's peppermint sticks to Mrs. Beaver's holiday hospitality, we find out how our bookish leading ladies celebrated the “most wonderful time of the year.”Shownotes:One thing we love about celebrating Christmas is how various foods and drinks pop up at that time of year and no other. After all, nobody drinks eggnog in July. We share our heroine's glowy feelings of anticipation and wish fulfillment as we sample Jane Austen's cold pies, Maya Angelou's upside-down pineapple cake, and the Little Women's fat, brown turkey.From the groaning tables of Regency England to Independence, Kansas, and Narnia and beyond, we pull up a chair to some of the most delicious and festive fetes in our favorite novels. Old Fashioned Peppermint Candy from Little House:https://littlehouseontheprairie.com/homemade-peppermint-candies/What's your favorite literary Christmas celebration? Drop us a line at Hello@jennyewilliams.com.-----Theme Music: "Beyond the Ponds" by Francis Wells

In this episode, I chat with Sophie Irwin about her new novel, A Ladies Guide To Fortune Hunting, women finding autonomy in Regency England, character arcs, and Bridgerton!Sophie Irwin grew up in Dorset before moving to south London after university. She spent several years working as an assistant editor before going freelance.Sophie has spent years immersed in the study of historical fiction, from a dissertation on why Georgette Heyer helped win World War Two to time spent in dusty stacks and old tomes doing detailed period research when writing her debut novel A Lady's Guide to Fortune Hunting. Her love and passion for historical fiction bring a breath of fresh air and contemporary energy to the genre. Sophie hopes to transport readers to Regency London, where ballrooms are more like battlegrounds.Sophie IrwinA Lady's Guide To Fortune Hunting, Sophie IrwinRed, White, and Royal Blue, Casey McQuistonSupport the show

The richest, most famous person you've never heard of is Harriot Mellon. An icon of the stage in Regency England, she rose from abject poverty and abuse to become the wealthiest woman in the country. More surprising still: she was the sweetest, most wholesome soul you'll ever meet. Katie interviews renowned historian Ian Mortimer.   Explore the British Museum's vast collection of objects related to Harriot Mellon here. Read the full two volumes of Harriot … The post THE GRATEFUL DUCHESS Harriot Mellon appeared first on What'shername.

On the surface, Jane Austen's classic novels like Pride and Prejudice and Emma might seem to be about courtship and marriage, manners and the social hierarchies of Regency England. But while weddings and ballrooms abound in her books, so do lessons about how to live a virtuous life.  This week on Jesuitical, we speak with Haley Stewart, a self-described Jane Austen evangelist and the author of the new book, Jane Austen's Genius Guide to Life: On Love, Friendship, and Becoming the Person God. We ask Haley how virtues like humility and patience are cultivated in Austen's fiction; what Jane would say about modern dating and romance; why Catholics (and men) should take her novels seriously. In Signs of the Times, Cardinal Joseph Zen, the 90-year-old former bishop of Hong Kong, was arrested and briefly detained for his involvement in pro-democracy protests. Zac breaks down what this arrest means for the (very complicated) situation of the Catholic Church in Hong Kong and mainland China.  Links from the show: Join Jesuitical in Italy Cardinal Joseph Zen, 90, arrested in Hong Kong Jane Austen's Genius Guide to Life: On Love, Friendship, and Becoming the Person God Created You to Be What's on tap? Balcones bourbon, distilled by our guests's husband! Learn more about your ad choices. Visit megaphone.fm/adchoices