Pseudonyms; or How Susan is Becoming Isabella

Susan/Isabella reporting:

Pseudonyms, or pen names, have a long history in publishing, especially for women. In the past, women writers often assumed a male name to give their books credibility with editors and readers skeptical of a female pen: Currer Bell (Charlotte Bronte), George Eliot (Mary Ann Evans), Isak Dinesen (Karen Blixen). I can think of only one case when a woman writer with a male-sounding first name switched to one that was more feminine: Howard Allen O'Brien publishes as Anne Rice.

Sometimes women writers choose a pen name to separate themselves from their husbands and families, and sometimes, too,  a pen name works because it's shorter and easier to remember than the real name: the single-named Colette (Sidonie-Gabrielle Colette.) Modern writers often choose a second name to signal readers that they're writing a different kind of book Nora Roberts writes traditional romance/women's fiction; as J.D. Robb, she writes futuristic suspense. I'm sure you can think of more examples - once you start, it's hard to stop.

All of which is a roundabout way of explaining that this summer I'll be launching an exciting new series of historical romances under a new name: Isabella Bradford. Scheduled for release at the end of July, When You Wish Upon a Duke is the first of three books (published by Ballantine/Random House) following the romantic escapades of the irrepressible Wylder sisters – escapades that make them the talk of Georgian London, and a passionate challenge to the trio of dukes who fall in love with them. You won't have long to wait for the next book in the series, either.  When the Duchess Says Yes will be released in late September, and When the Duke Found Love in late November.

I'll be writing more here on the blog about the historical background to the books over the coming months (as well as launching an Isabella Bradford website), but in the meantime, I'll be adding Isabella's name to my posts here as well. A bit awkward, I know, but then we Geminis are accustomed to having multiple identities.

What about my historical novels written as Susan Holloway Scott? For now, I'm taking a short break from historical fiction to focus on Isabella Bradford. But don't be surprised if some historical story suddenly bubbles up from my imagination and research to become a new book.

Thank You, Readers!

Loretta & Susan reporting:

We can't believe that this has happened – but today the Nerdy History Girls passed the 500,000 mark for page-views!  Now that number may not make Justin Bieber or Lady Gaga blink, but we're absolutely amazed by it, and most grateful to you for stopping by this blog a half a million times to see what historical amusement we had to share.

So to all our readers from around the world, new and old, loyal followers or just-passing-by: THANK YOU for your support, and here's to the next half-a-million!

Happy Second Anniversary to Us (plus More About That Hurricane)

Susan & Loretta reporting:

Somehow or another, we've managed to reach the second anniversary of the Two Nerdy History Girls, and we can't quite believe it. We began the blog to entertain one another, and with the hope that there might be a few other nerdy-history-folk out there who might like to join us for the ride. To our amazement, there turned out to be a great many of you: we have 582 members through Blogger and 1740 followers on Twitter. Most astonishing of all is that, over the last two years, we've had over 300,000 page views! We're celebrating, yes, but we're raising our glasses to you, too. Many, many thanks for making our success possible, and we hope you'll continue to be part of the party.

As for Hurricane Irene: as Loretta noted on Monday, Irene raged, and Susan's electricity meekly gave in. Here in my corner of Pennsylvania, we were lucky not to have the heartbreaking damage that this storm has caused in other regions, but we did loose a good many large trees that seemed determined to use power lines to break their fall. The tree, right, fell near enough to my house to knock out my neighborhood's electricity over the weekend, and we didn't have our power restored until yesterday morning.

As a result, the TNHG have been silent on Twitter over the last few days, and the Breakfast Links never had a chance.  But we're back tweeting again, and, weather willing, look for a fresh helping of Breakfast Links this Sunday. Whew!

Fashions for August 1831

Loretta reports:

A few more examples of fashions from the time period of Last Night's Scandal.

 ~~~

FASHIONS FOR AUGUST, 1831. 

EXPLANATION OF THE PRINTS OF THE FASHIONS.

English Fashions.

Morning Dress.

A White jaconot muslin dress; the corsage square, and gathered round the top into a band, which is lightly embroidered at each edge; the fulness disposed in small plaits, arranged en cœur. The sleeve is an improvement on the imbecille form, very large at top, and wide, but not extravagantly so at the wrist. Two deep flounces of rich embroidery, placed one immediately above the other, go round the border, and reach rather above the knee. The apron is of changeable gros de Naples, lilac shot with white: it is arranged in bands, disposed en cœur before and behind; and ornamented on each shoulder, and at the back of the ceinture, with nœuds of ribbon to correspond. English lace cap; the caul of moderate height; the trimming of the front light, short at the ears, and partially drooping over the left side of the forehead: it is trimmed with knots of cut ribbon to correspond with the apron; the brides fasten in bows and ends on the right side.

Evening Dress.

A Dress of mousseline de soie, white figured in gold colour; the corsage cut plain and square behind, and in crossed drapery and very low in front. A guimpe, that is a plain standing up tucker of blond lace, is seen in the centre of the bosom only Béret sleeves, of the usual form. The hair is turned back in a low soft bow on each side of the forehead, which is ornamented with a gold ferronière, and disposed in full bows on the summit of the head. A blond lace scarf is arranged in the lappet style round the bows: it is attached by a bouquet of roses placed in front, and another behind. Neck chain, bracelets, &c., gold, of rich but light workmanship.
—La Belle Assemblée, 1831

Fashion dolls from long ago

Loretta reports:

Since a doll plays an important role in Silk is for Seduction,  I was excited to find this pair in the Victoria & Albert Museum. 

Lord and Lady Clapham date to the much earlier time period of Susan’s historical novels, rather than my books—which makes them all the more wondrous.  Not only have they survived more than 300 years, but they’ve still got their clothes, even their underwear!  Equally thrilling to a Nerdy History Girl, they’re believed to have belonged to descendants of Samuel Pepys.

You can find detailed descriptions of the dolls here and here at the V&A site, as well as more photographs of their attire, including closeups of their little bodies and even their stockings & garters.

They are jointed, and obviously were meant to be dressed and undressed, which makes it even more amazing that they’re in such splendid condition.  Think of all those old Barbies one comes across at yard sales.  No, better yet, think what happens to Barbies once a little girl gets her hands on them.

More children’s treasures at the V&A include this 1835 doll, and this one from a slightly earlier period.

Susan has posted here & here about 18th C dolls.

And if you’re curious about the dollhouse in my story, check out my post on the Shire Library Dollhouses book.

Romantic Era fashions for real

Loretta reports:

In relation to my new book, Silk is for Seduction, I've shown a number of fashion prints (here  and here and here and here), from the time.  Like fashion illustrations now, these give a stylized view of the clothes.  I was therefore delighted to happen upon this series on YouTube, displaying real clothes by era.  This is Part One of the Romantic Era fashion show.

Adult & children's fashions of 1835

Loretta reports:

Today I'm showing another example of 19th C children’s dress.  This one, from 1835—the year of Silk is for Seduction—is the sort of thing little Lucie might wear . . . during her geography lesson.

(No. 7.) TOILETTE D' INTERIEUR—Robe de chambre of mousseline de laine; the corsage and skirt made all in one. The collar or pelerine is à revers, rounded at back and pointed on the shoulders, where it is ornamented with small tassels: this revers folds back as far as the waist in front (see plate). The sleeves are immensely full all the way down: the dress is fastened round the waist by a ceinture of itself, from which depends two long ends, finished by tassels. A small liseré or piping of blue satin goes entirely round the dress. The robe de chambre is wadded and lined.  Cap of Grecian net, with a plain round caul and double border of the same, standing up from the face (see plate): the cap is ornamented with small blue wild flowers, and bows of satin ribbon of the same colour. The hair is in plain bands. On the neck is a guimpe of fine cambric (see plate), with a single frill at top, of the same, festonné at the edge, and which, as well as the entire front of the guimpe, is small plaited; it is drawn in at the neck with a small cord and tassels. Cotton stockings, à jours and wadded silk shoes.

CHILD'S DRESS.— Frock and trousers of white muslin, the latter embroidered. The corsage à l’Enfant, the sleeves short and full. Ceinture and nœuds de page of pink satin ribbon: black silk mittens, trimmed at the tops with a ruche or quilling of tulle. The hair is divided in a point (see plate): the front hair, which is curled, falls as low as the neck; and the back hair is brought in two braids to the temples, where it is fastened up with bows of pink ribbon, to match those on the dress. Kid shoes, and gaiters of drap de soie couleur Hanneton.
— Lady’s Magazine & Museum Vol. VI, 1835

Paris-London Steam Packet

Loretta reports:

Years of researching Regency era stories made me familiar with England's coaching roads, along which the mails sped.  To get to France, one generally traveled the road to Dover.  From there, sailing packets crossed the Channel to Calais, France, a distance of approximately 30 miles.

Though I knew my hero and heroine in 1835 would travel under steam power,  I hadn’t realized, until I studied travel guides for the period, that it was possible to go from Calais to London by boat.
~~~
ROUTE BY STEAM PACKETS.
The route by the London Steam Boats from the Tower Stairs, is less expensive, and, during the summer months, preferred by many. Those who are not subject to sea-sickness, will find this route, in fine weather, a most delightful voyage ; the vast variety of objects it affords, the crowds of shipping through which you imperceptibly glide, castles, barges, trees, in short, every object calculated to excite admiration and heighten enjoyment, present themselves, during your passage through the Thames. The Steam Company usually print monthly lists, stating the time of their leaving both London and Calais . . . In favourable weather, the passage is made in about twelve hours, but sometimes they are from sixteen to eighteen; the fare for best cabin passengers, is 33s.; fore cabin, 1£. 2s. 6d.; refreshment may be had on board at the following prices: breakfast consisting of cold meat, eggs, tea and coffee, 2s. dinner of plain roast and boiled, with vegetables, &c. 2s.; tea, 1s.; bottled porter, 1s.; wine, spirits, &c. equally reasonable, and of the first quality; there are beds on board, and every accommodation for ladies . . . Gentlemen who prefer travelling in white hats, will do well to wear either a hat cover, or a travelling cap, whilst on board the packets, as the smoke from the funnel of the vessel will discolour it.
__ Francis Coghlan, A guide to France, explaining every form and expense from London to Paris, 1830.

Print illustration:  The steam ship President in gale, courtesy Wikimedia Commons.
Photo:  Detail of an image from the Illustrated London News (10 May 1851), a cutaway of a packet ship, displayed at the Smithsonian; photo courtesy me.

A well dressed child of the 1830s

Loretta reports:

Several times in Silk is for Seduction, I give attention to the dress of the heroine’s daughter.  The descriptions may seem exaggerated.  Or maybe readers think that, because she's a dressmaker, my heroine couldn’t help treating her child like a mannequin.  But in fact, children’s dress in the ladies’ magazines is often a scaled-down version of adult wear.

~~~

FASHIONS FOR MARCH, 1830.

EXPLANATION OF THE PRINTS OF THE FASHIONS.

CHILD'S WALKING DRESS.

A Pelisse of Indian-red gros de Tours. The corsage is disposed in folds, the sleeve full at the upper part of the arm, and nearly tight at the lower; it is terminated with an ermine cuff. The skirt is bordered with a broad band of ermine; a second band, something narrower, is placed at some distance above it. A black velvet bonnet, worn over a white lace cornette; the form of the bonnet is somewhat between the French capote and the English cottage bonnet. It is trimmed with an intermixture of black velvet and geranium-coloured satin nœuds; the strings, and a single nœud, which ornaments the inside of the brim, are of the latter material. Morocco leather half boots; slate-coloured gloves; boa tippet of ermine.

— La Belle Assemblée, March 1830

Silk is for Seduction now available for your reading pleasure

Loretta reports:


For the past few days, you've been seeing posts related to my latest book (here, here, here, and here ).  You can expect more as we celebrate the release of  Silk is for Seduction, the first of my Dressmakers series.

You can read a description and an excerpt at my website

Longchamp in 1835

Loretta reports:

Silk is for Seduction’s release today is a good excuse to revisit Longchamp (more here and here), this time sharing Fanny Trollope’s view in 1835, the year of my story.
~~~
I DARE say you may know, my friend, though I did not, that the Wednesday, Thursday, and Friday of Passion-week are yearly set apart by the Parisians for a splendid promenade in carriages, on horseback, and on foot, to a part of the Bois de Boulogne called Longchamps.
 . . .
From about three till six, the whole of this ample space is crowded; and I really had no idea that so many handsome, well-appointed equipages could be found collected together anywhere out of London. . . .

Nevertheless, the weather on the first of the three days was very far from favourable  . . . *The next day promised something better . . . but the spectacle was really vexatious ; many of the carriages being open, and the shivering ladies attired in all the light and floating drapery of spring costume. For it is at Longchamps that all the fashions of the coming season are exhibited; and no one can tell, however fashion-wise she be, what bonnet, scarf, or shawl, or even what prevailing colour, is to be worn in Paris throughout the year, till this decisive promenade be over. Accordingly the milliners had done their duty . . . But . . . (t)he tender teinted ribands were soon dabbled in a driving sleet; while feathers, instead of wantoning  . . . on the breeze, had to fight a furious battle with the gale.

It was not, therefore, till the following day . . . that Longchamps really showed the brilliant assemblage of carriages, horsemen, and pedestrians that I have described to you . . . though it was still cold for the season—(England would have been ashamed of such a 17th of April)—the sun did come forth, and smiled in such a sort as greatly to comfort the pious pilgrims.

—Fanny Trollope, Paris and the Parisians in 1835  (read the complete letter here)
~~~
 *I employed artistic license, and improved the weather.
Illustration:  Costume de Long-champs; walking dress, from The Lady's Magazine, Vol VI, 1835. (Description will appear on my In Other Words blog.)

A little backstory: early 1830s via the movies

Loretta reports:

Inspiration and images can come from anywhere.  When I began working on Silk is for Seduction, I watched several movies set in the time period.  Movie can't be relied on for accuracy, but if one's already done some research, it's possible to use the images for a sense of place or for costume.  This particular French film has nothing to do with my book, but it helped me develop a vivid image of the world my heroine fled.

The Art of Advertising in 1835

Loretta reports:
Because Marcelline, the heroine of Silk is for Seduction, (my new book) owns an up and coming dressmaking shop, she needs to advertise.  In researching the story, my nerdy heart was thrilled when I found actual advertisements from the early 19th century.  The book quotes several that have a bearing on the story, and in various posts here I've featured specific ads for hair products,  cure-alls, corsets, and beauty aids.

I could quote more, but I think it’s a lot more fun to look at the ads themselves.  These are from the 1835 Court Journal.  You might have to zoom in to read them, but I believe it’s worth the effort.  Maybe it's just my nerdiness, but on every advertising page, I find something that entertains or intrigues me.  What about you?

Silk is for Seduction: French Fashions 1835

Loretta reports:

On 28 June my newest book, Silk is for Seduction, comes out.  It’s the first of my Dressmaker series, about a trio of slightly French but mostly English sisters who set out to become London’s foremost modistes.  Today and for some days to come, I’ll be offering a sort of illustrated guide to the book.

A series about dressmakers deserves, naturally, an opening blog about dress.  Today I’ll show some Parisian fashions.  Later there will be some English ones.  You can compare and contrast, and see if you detect any of the differences that were so obvious to my heroine, Marcelline, & her sisters.

(No. 8.) TOILETTE DE SOIRÉE.—Black velvet dress, the corsage à la Sevigné, ornamented down the front with bows of ribbon placed at distances. Short full sleeves, with double sabots of white satin. The front breadth of the dress being of white satin broché* in gold, give it the appearance of an open robe (see plate). On the shoulders are the nœuds de page,** of black satin ribbon broché in gold; the ends are long and fringed; a white blonde goes all round the bosom of the dress. Chapeau Castillan of black velvet, with a broad leaf turned up in front, and ornamented with a bird of Paradise dyed black. The hair is in curls, very much frizzed, and a braid of the back hair is brought across the brow (see plate). Écharpe caprice of very wide white satin ribbon, broché à la Jardinière, in a rich pattern of flowers: the ends of the ribbon are fringed, and it is trimmed at each side with a narrow white blonde. Black silk gloves à jours,*** finished at the tops with a quilling of tulle. Black satin shoes, white silk stockings, necklace or cameos. The dress of the sitting figure, which is of pink satin, is precisely of the same make.

* brocaded
**a bow knotted in a particular style—our dressmaker-historian readers may know exactly what it means
***up-to-date

—The Lady's magazine and museum, 1835

Shameless Self-Promotion: Loretta on the Huffington Post

Susan reporting (on behalf of the ever-modest Loretta):

There's been a joyful amount of noisy celebration on the internet this week, so a little distraction is to be expected.  But in case you missed Loretta's debut on the Huffington Post, here's the link to her entertaining, thoughtful post: "Royal Wedding 2011: Can This Marriage Be Saved?"

Congratulations, Loretta. :)

Regency style dining on our 500th post

Loretta reports:

Susan has informed me that this is the Two Nerdy History Girls’ five hundredth post.

We sure are a couple of blabbermouths.

But wait.  There's more.  It seems we've also passed the quarter of a million page view mark.  We’re very impressed with ourselves.  Also astounded.  As our blog description notes, we would have been excited if three people showed up.

As you would expect, I sought nerdy history material befitting so solemn an occasion.
But all you get is a funny video.

Five hundred thanks to Kolbaskina Katya, who brought it to my attention.

White Wedding Dresses before Victoria

Loretta reports:

I’ve blogged on this subject before, but myths persist.  The release of Royal Weddings, containing my short story set on the eve of Queen Victoria’s wedding in February 1840, is an appropriate occasion for examining the myth about Her Majesty starting the fashion for white wedding dresses.

So let’s look at some primary sources, complete with pictures, illustrating white wedding dresses before 1840. 

BRIDAL DRESS.
This costume is remarkable for its richness, and exceeding simplicity; it is composed of a white satin dress; the corsage uni, cut very low on the bust, finished with a double cordon of gold and satin rouleaux twisted alternately. The bosom is shaded by a tucker of tulle, à la vierge. The skirt is very ample, and set round the waist in deep double folds; it is cut of an ordinary length in front, but gradually increasing on the sides, so as to form a sort of train behind. Its only trimming is a cordon, similar to that round the bust, and sleeves. Zone of mosaic gold and plain gold bracelets. The coiffure is of a corresponding simplicity, merely dressed in full bows and braids; with a wreath of white roses, and mantilla of blonde.
—The Royal lady's magazine, and archives of the court of St. James's, 1832

And, from the U.S.—

PHILADELPHIA—AUGUST.
THE LATEST FASHIONS.
DESCRIPTION OF THE PLATE.
FIG. 1.—Bridal Costume, &c.—A robe of the finest Indian muslin over white satin, embroidered round the skirt with a garland of roses; two flounces worked to correspond; and the same pattern on the corsage, in the form of a stomacher. Another row of work round the neck, just under the blond coleret; pointed corsage; a bow of white satin, with long ends in front; full sleeves, with a very narrow cuff. The hair arranged in reversed braids; a coronet of red roses and orange blossom round the head; pearl chain across the forehead, and a lace veil, very gracefully fastened to the bows of hair behind ; white lace stockings, satin shoes, and kid gloves.
--Atkinson's Casket, 1835

As part of my shameless self-promotion of Royal Weddings, look for more on wedding dresses at my other blog.

Shameless Self-Promotion: Loretta's a Rita Finalist!

While Loretta is content to stand modestly to one side, I will gladly trumpet her good news: her 2010 book, Last Night's Scandal, is a finalist for the Romance Writers of America Rita Award, in the category of Best Historical Romance. The Rita is the highest award of excellence in romance publishing, and the competition among published books is fierce. I'm delighted that a Nerdy History Girl is a finalist, and of course, it's completely and totally well-deserved. Congratulations, Loretta!

Click here for more about RWA's Rita Award.

At Last: Two Nerdy History Girls on Twitter

Susan & Loretta reporting:

By now you've probably realized that we are historically obsessed, and it often takes a bit of prodding to get us to think of the present-day. Thus we are quite proud to announce that we've taken another bold step (for us, mind you): the Two Nerdy History Girls are now on Twitter as 2NerdyHistGirls, with even more news, links, gossip, and, of course, history.

To become a follower, simply click on the little bird in the column to the right. We hope you'll join us!

Shameless Self-Promotion: News on E-Books, & a Live Chat with Susan

Susan reports:

I've heard from readers this week who've felt neglected because The Countess & the King wasn't available digitally as an e-book. I'm happy to report that both Amazon and B&N.com are now offering e-book versions, so fire up those Nooks, Kindles, and iPads for near-instant downloading.

Also: Tomorrow evening,  Monday, 13 September, I'll be participating in a live on-line author chat from 7:00-8:00 pm EST, and I'll be ready to answer (almost) any question you may pose. Click here for more details. Hope to see you there!