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“The Marquis and I” – new Regency romance from author Ella Quinn

BLURB:

Trouble is no match for a lady of the extended Worthington family—except when it comes in the form of a most irresistible gentleman . . .

Lady Charlotte Carpenter’s brother-in-law has put an infamous brothel owner out of business—yet it is Charlotte who suffers the consequences. Abducted by thugs and held at an inn, she is plotting her escape when she’s suddenly rescued by a dashing gentleman. Only afterward does she realize she’s seen him before—with two courtesans! Unwilling to tarry with such a man, Charlotte makes her second escape. But it is too late to repair her reputation . . .

A known gossip has spied Charlotte’s movements, and his report is speeding through the rumor mill. Soon, everyone knows that Charlotte spent the night with Constantine, Marquis of Kenilworth. And everyone agrees the only answer is marriage—including Constantine himself, his overjoyed mother—and his mistress! But Charlotte’s abductors aren’t finished with her yet. Now Constantine will do anything to protect the spirited woman he loves and win her heart . . .

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EXCERPT:

Wife? Wed? No, no, no! Being betrothed was bad enough. But she could get out of that. But married! Lord Kenilworth was the last man in the world she would wed. Just the idea that he would touch her with the same hands he used to mistreat other women made her stomach lurch.

Charlotte quickly shoved the memory of his kiss aside. If she had known who he was, she would never have kissed him.

Taking a deep breath, she said with as firm a voice as she could muster, “Despite what his lordship said, I do not wish to marry him. There must be a way to—”

“That is neither here nor there, my dear.” Lady Bellamny waved away Charlotte’s complaint in a voice so composed it made her want to slaughter someone. Preferably Lord Kenilworth. “I stopped by Stanwood House to inform your sister I intended to be out of Town for a few days. Instead, I found your cousin Jane, Mrs. Addison. Knowing that I am a trustworthy friend of the family, she told me what had occurred. Unless I am mistaken, you were with Lord Kenilworth at least overnight, and you were seen entering the inn with him.” She raised a brow. “In a rather disheveled state.”

Charlotte decided to ignore her creased, dusty gown, and address the most important issue. “I did not exactly spend the night with him.” Not all night and, technically, she had entered the inn first. “He followed me into the inn. I—”

“Close enough, my lady.” His tone was as dry as sand. “We were seen together walking toward this place, and I held the door open for you.”

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AUTHOR Bio and Links:

Bestselling author Ella Quinn’s studies and other jobs have always been on the serious side. Reading historical romances, especially Regencies, were her escape. Eventually her love of historical novels led her to start writing them.

After living in the South Pacific, Central America, North Africa, England and Europe, she and her husband decided to make their dreams come true and are now living on a sailboat cruising the Caribbean and North America. Europe is next!

She loves having readers connect with her.

Website: http://www.ellaquinnauthor.com
Facebook: http://www.facebook.com/EllaQuinnAuthor
Twitter http://www.twitter.com/ellaquinnauthor
Blog http://ellaquinnauthor.wordpresscom

The Marquis and I Buy Links:

Amazon: http://amzn.to/2s3Cqbp
Barnes & Noble http://bit.ly/2rI8cKu
Kobo http://bit.ly/2r8Dyet
iTunes http://apple.co/2tT1wZb

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REVIEW: The Jane Austen Project by Kathleen A. Flynn

Jane Austen and time travel? I’ll be reading this one for sure! ~ Kadee

AustenBlog

ja-project-coverThis year we commemorate Jane Austen’s death. We certainly do not celebrate it. We feel a sense of unfairness about it, not only for our selfish sake–for being cheated out of, based on the lifespan of her parents and most of her siblings, thirty or forty years’ worth of Jane Austen novels–but naturally for Jane’s own sake. She died just before she would have reached real success–the success enjoyed by her contemporaries such as Burney, Radcliffe, and Edgeworth, all of whom she has utterly eclipsed in the intervening centuries. It is just horribly unfair. Jane gave the world such joy and never really had the opportunity to enjoy real fruits from her labor (by which we mean money. From what we can tell, Austen was never big on the whole adulation thing).

We also have great affection for time-travel stories, but within certain parameters. The method of time travel must…

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London Theatre in Regency Times

Covent_Garden_ Theatre_1809

By the early 19th century, The Industrial Revolution had made England the leading manufacturing and trading nation in the world. In 1800, London was already the world’s largest city, and its population would almost double over the next four decades, to approximately two million.

Large numbers of the working classes, drawn to jobs in commerce and manufacturing, began to attend the theatre for the first time, causing major changes to entertainments formerly reserved for more well-to-do patrons of the arts. Both Covent Garden and the Theatre Royal, Drury Lane, were rebuilt in the 1790’s to accommodate about 3,000 and 3,600 people, respectively. Minor theatres were opened outside Westminster in the 1780’s and 1790’s; then,  in 1804, when the Earl of Dartmouth became Lord Chamberlain, he authorized the licensing of minor theatres inside the City of Westminster, so long as they did not infringe upon the rights of the “patent houses” of Covent Garden, Drury Lane and the Haymarket. He also authorized longer seasons for the Haymarket, which had been restricted to a five-month season and, by 1812, it was open seven months of the year.

Attempting to retain audiences, the patent theatres began to include minor dramas in their offerings and extended the evenings to five or even six hours. By 1820, it wasn’t unusual for the evening’s bill to include two full-length plays, an afterpiece, and a number of variety acts.

Since only the patent houses could play regular drama, along with the minor genres, the other theatres found loopholes offered by the burletta and the melodrama, characteristically a three-act play with a musical score. Thus, regular drama, such as Shakespeare, could be performed in three acts with musical accompaniment and called “melodrama.” This game of ruse and subterfuge continued throughout the Regency and after, until the Theatre Regulation Act of 1843, which abolished the privileges of the patent theatres, and allowed any licensed theatre to perform works of any type, although all plays continued to be licensed by the Lord Chamberlain.

The upper classes might have worn their very best, but otherwise, theatre-going was an informal business, with members of the audience talking loudly and arriving or leaving at any time during the performances. Dandies strolled and mingled in the “pit,” taking snuff and showing off the latest fashions.

Most of the romantic poets of the day attempted drama, including Coleridge, Wordsworth, Keats and Shelley. George Gordon, Lord Byron, who was a member of the governing committee of Drury Lane, wrote more plays suited for the stage than the others, although only one was actually performed during his lifetime (and that one, “Marino Faliero,” in 1821, over his objections).

The best known actors and actresses on the London stage during the Regency included several members of the Kemble family, especially Sarah Kemble Siddons, who was considered the greatest tragic actress of her day until her retirement in 1812. The Kemble “classical” school of acting was continued by Charles Mayne Young (1777-1856), J. M. Vandenhoff (1790-1861), and Eliza O’Neill (1791-1827). Their classical approach was challenged after 1814 by the romantic school, perhaps best exemplified by Edmund Kean. Kean perfected the style, and exerted his “star power” frequently to demand £50 or more for each performance, an amount unheard of before his time. Other well-known performers, such as William Charles Macready (1793-1873) and Mme. Eliza Vestris (1797-1856), later went from the stage into theatre management.