Eleanor Webster enjoys
the Regency Period “because it depicts a society poised for change.” Her new
Regency Harlequin historical book NO CONVENTIONAL MISS (Oct. 1 release) features a heroine who
is an inventor and does not always follow the conventions of the time period.
Webster lists humor, character relatability, historical accuracy, and happy
endings on the list to creating an engaging Regency story.
When she’s not
writing, Webster is busy finishing her doctorate in Psychology. She is also
working on her second Harlequin, set in French Revolution times. She lives with
her husband and two daughters in northern Canada, enjoys hiking, and is an avid
runner.
Check out the excerpt
following her interview to learn more about her book.
Q: Why set NO CONVENTIONAL MISS in Regency times? Does the time period offer you an advantage
to tell your story?
Eleanor Webster: I have always loved the Regency Period
because it depicts a society poised for change. The inventions of the
Industrial Revolution are emerging, bringing with them the anticipation of societal
transformation.
This serves a practical purpose in the plotline for my Harlequin Historical NO CONVENTIONAL MISS. The protagonist, Rilla, is an inventor. She has a keen
interest in force, momentum and any number of ‘unladylike’ activities. She is working
on an automated butter churn and has an eager enthusiasm for all things
scientific.
It works to have
her story set against the backdrop of a society with both a zest for innovation
and strict rules for female behavior.
Q: When creating your
protagonist, who I assume is NO CONVENTIONAL MISS, what traits did you assign
to her to engage readers so that they care what happens to her? What do you
consider the most important characteristics of a heroine?
Eleanor Webster: Rilla is complex and somewhat conflicted.
She has always been plagued with moments of second sight, an aspect of herself
she fears. Indeed, a maternal aunt
had been institutionalized for similar traits. I think this vulnerability helps
the reader connect.
However, Rilla is no wimp. Rather she has a thirst for
knowledge and innovation hoping that by developing the scientific she will
subdue that mystic element within her nature.
For me, one needs to feel sufficiently close to a heroine to
understand her motivations, fears and strengths.
Q: How relevant is
the concept of “villain” to the development of conflict in your story? What
makes an effective villain?
Eleanor Webster: There is a ‘villain’ who is
manipulative and blackmails Rilla. However, he is minor. The greatest conflicts
for both Rilla and Paul are internal. Indeed, the biggest struggles for any
individual are those which come from within.
The ‘villain’ serves to bring this conflict to the surface,
forcing Rilla and Paul to confront their vulnerabilities. This helps them to
grow as people as they gain acceptance for both themselves and each other.
Q: What kind of
research did you conduct to assure historical accuracy in NO CONVENTIONAL MISS?
How important is time-period accuracy to your readers?
Eleanor Webster: Time-period accuracy is
important, in fact, it is absolutely vital. Inaccuracies irritate the reader
and undermine an author’s credibility.
Having said that, I also recognize that I am not infallible and that
there are readers having far greater knowledge than my own. If you find a
mistake, please let me know!
I live in
Canada so my research is from secondary sources. These are absolutely wonderful but not comparable to
original, primary source research.
I have a B.A. in history and spent considerable time in British
Columbia’s archives. Original
newspapers, documents, letters and buildings all serve to deepen one’s
knowledge and give one a true, multi-dimensional sense of history. I love European history but have not
yet had the opportunity to gain that depth of knowledge. I hope to do so if my
writing becomes profitable. Meanwhile, if anyone spots an error – please- let
me know at eleanorwebsterauthor.com.
Q: Do you consider NO CONVENTIONAL MISS a “modern” regency romance? If so, how does it differ from
traditional regency romances or what makes it “traditional”?
Eleanor Webster: NO CONVENTIONAL MISS is a
departure from the traditional Harlequin historical because it involves a
paranormal element.
In this
sense, it has a ‘modern’ flavor. However, the voice is somewhat traditional in
that I use witty dialogue which is a hallmark of the typical regency.
My hope is to capture gothic drama
mixed with that wonderful sense of ‘ton’ made so famous by Georgette Heyer.
Q: Did you write NO CONVENTIONAL MISS to entertain only? Or did you also want to deliver a message
or educate your readers?
Eleanor Webster: NO CONVENTIONAL MISS is
primarily aimed to entertain. I
mean it is a Harlequin Romance! I work in a field of psychology which can
result in heart-breaking situations and I write to create a place of romance
and ‘happy endings’ which are not always duplicated in real life.
I do not aim to educate (that sounds too much like school)
but I
do hope to send a positive,
feel-good message and to stimulate thought. In
NO CONVENTIONAL MISS Rilla
cannot accept her psychic abilities and therefore rejects a part of
herself.
I believe that each of us
has some characteristic, be it internal or external, which we do not embrace. I
hope that Rilla’s self-discovery and eventual self-acceptance will encourage
readers to share a similar journey.
As well, Rilla is, as the title suggests,
unconventional. Indeed, she lives
in a society which is incredibly rigid in its expectations of its female
members. Modern society is considerably less ‘restrictive’ but many of us are
still hemmed in by those perennial ‘shoulds’. (I abhor ‘shoulds’ by the way.) I love to draw female characters from any time period who
are true to their authentic nature – even if that is building butter churns.
Q: How helpful is the
use of humor to develop your characters or tell your story?
Eleanor Webster: I love humor. I love creating a
quirky characters who see the world through a different lens. I challenge
myself to create wry humor through witty dialogue and I truly, truly hope that
this is demonstrated in my writing.
The quirky character in
NO CONVENTIONAL MISS is, without
doubt, Paul’s stepmother, Lady Wyburn. She is kind and lovely and slightly
ditzy in a very smart way. For me, Lady Wyburn is that impish inner voice which
notes the inanities of everyday life and enables one to cope with humor to
life’s vicissitudes.
Q: What do you
consider to be the key components in developing a romantic relationship?
Eleanor Webster: Now that is the question… There
needs to be chemistry, an attraction which is definitely physical but is also
on an intellectual and emotional level. As well, there must be a problem or
challenge which must be overcome. This serves to heighten the tension but it
cannot be too contrived. I loathe plots where everyone is being foolish and you
just want to bang everyone’s head together and tell them to work things out.
And then there is the growth which occurs by overcoming the
challenge, allowing the individuals to move towards that ‘happily every after’
Q: What’s next?
I have a two book contract with Harlequin so a second book
will be released at some point... This is set slightly earlier with the
backdrop of the French Revolution.
Q: Tell us about
Eleanor Webster. What do you like to do when you’re not writing?
Eleanor Webster: I work in a field of psychology
and am currently pursuing my doctorate – okay – I’m actually on a leave of
absence. I have completed the course work but need to get going on my thesis. I
am skilled at procrastination and once even cleaned my oven rather than write
an essay. Sadly, this was not a particularly effective procrastination strategy
as I didn’t cook at the time.
I also live in
a very beautiful area of Canada so I enjoy hiking and I am an avid runner. I
recently travelled in Europe – check out my website at eleanorwebsterauthor.com
for the exploits of the ‘paddington hat’
About Eleanor Webster
Eleanor Webster loves high-heels and sun, which is ironic as she lives in northern Canada, the land of snowhills and unflattering footwear. Various crafting experiences, including a nasty glue-gun episode,
have proven that her creative soul is best expressed through the written word.
Eleanor lives with her husband
and has two daughters. She is a lifelong learner and is currently pursuing a
doctoral degree in psychology. Eleanor has a masters degree in educational
psychology and an undergraduate degree in history and creative writing. She
loves to use her writing to explore her fascination with the past.
She's
always been different…
Amaryllis
Gibson is an unlikely debutante. She favors fact over fashion, cares not for
"proper" conversation and is haunted by ghostly visions which could
land her in the madhouse! Marriage is definitely the last thing on Rilla's
mind…
But
when she's caught in a compromising position with Viscount Wyburn, suddenly she
finds herself betrothed! And worse, his powerful presence only increases her
visions. By shedding light on the viscount's past, can Rilla gain his trust and
win him round to her more…unconventional traits?
Excerpt
She smelled of soap and lemons, he thought, as he led her to the dance
floor. He liked the smell, tangy and fresh, so different from the perfumed
scents of other women.
‘My lord?’
‘I beg your pardon?’ He jerked his attention back to the conversation.
‘Do other women look spellbound as if you’ve said something witty?’
‘Naturally.’
He took her gloved hand and felt it tremble within his palm. The dance
started and they broke apart in time to the music.
‘Even when you haven’t said anything either inspiring or witty?’ she
asked as they came together again.
‘Especially then.’
‘How tiresome for you.’
‘Why so?’
‘Well, it must make you feel as though you’re not a real person, but
just a viscount.’
He laughed. ‘That’s the first time I’ve been called “just a viscount”.’
‘I meant no offence.’
‘I know.’ And it was true, he thought, surprised by her perception. Few
people saw him as a person and women never did. He was a good catch, with a title,
estate and ample income.
‘Now you’re much too serious,’ she said. ‘Aren’t you supposed to look as
though I’ve also said something remarkably entertaining?’ She stepped under his
raised arm. ‘Or does it not work both ways?’
‘It does and can be tedious, I assure you.’
‘Indeed, I find discussions about the weather highly overrated.’
‘Try looking fascinated by a spaniel’s earwax,’ he said, remembering a
conversation with a certain Miss Twinning.
Miss Gibson laughed, a rich spontaneous sound. No, she was no statue.
She was too vibrant—more like a flame caught in human form.
‘I take it you do not discuss earwax?’ he asked.
‘I steer clear of that subject. In fact, I say remarkably little and
endeavour to stick to Imogene’s list of suitable topics.’ She spoke with mock
solemnity, the amusement in her eyes belying her tone. She had remarkable eyes.
‘Which include?’
‘Fashion and the weather.’
‘Really.’ They were dancing side by side. He caught another whiff of
lemon. ‘And what,’ he murmured, bending so close that her hair tickled his
cheek, ‘would you discuss if left to your own devices?’
‘My waterwheel and butter churn.’
‘Your what?’ His fashionable ennui deserted him and he almost missed a
step, narrowly avoiding the Earl of Pembroke’s solid form.
‘My butter churn,’ she said more slowly.
‘And what makes this churn so worthy of conversation?’
‘Nothing really. I should not have mentioned it.’ She looked regretful,
glancing downward so that her lashes cast lacy shadows against her cheeks.
‘Oh, but you should. I’m fascinated.’ This was, surprisingly, true. He
wanted to lean into her and catch again that delightful whiff of lemon. He
wanted to see the intelligence sparkle in her eyes and feel her hand tremble
belying her external calm.
‘The churn is automated by a waterwheel, you see, and I believe it would
save our dairy maid so much hard labour.’ She spoke quickly, her cheeks
delightfully flushed with either enthusiasm or embarrassment.
‘And have you had the opportunity to test its efficiency?’
‘Once,’ she said.
‘Successfully, I trust.’
Her lips twitched and she looked up, merriment twinkling. ‘The water
succeeded in flooding the dairy. After that my device was banished.’
‘Unfortunate.’
'However, I have constructed a small model so that I can perfect the
design during my baths.’
‘Your baths?’ He choked on the word.
His mind conjured a vision of long, wet hair, full breasts and alabaster
limbs. He caught his breath.
Her cheeks reddened. ‘One of those forbidden subjects like
undergarments. I mean—I only mentioned baths because my churn is run by a
waterwheel. Hence I need a source of water to move the wheel.’
He laughed. He could not help himself. Her conversational style might be
unusual, but it was certainly more edifying than the weather.
Or earwax, for that matter.
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