Sunday 19 February 2012

Interview with The Wild Rose Press


Growing up in a tiny Lancashire village where the only other children were two boys, I relied on books for companionship. Once I discovered Jane Austen's stories, I always had somewhere to go. It was fun to pretend I was one of the Bennet sisters in 'Pride and Prejudice'. I enjoy many different periods of history but find it easiest to visualize the Regency era and there are so many reminders of that time still in existence to help with accuracy. I visit the places I put in my novels, check on the time it takes to walk the distances, look at the fashions and the objects of daily life.
1 -When and why did you decide you wanted to be a published author?

Books were such a large part of my life as a child that I simply thought writing and reading were the things you did. I told stories to my little brother, and to my friends. At school I wrote long essays and edited the school magazine. A teaching career meant that life was always hectic. It seemed there would never be time to write novels. Then my husband became too ill to work, so to keep him busy I set him to write a quest story that we had been discussing for several years. Each evening I would read his efforts and edit. We laughed a lot over our characters and their adventures. Sadly, my husband died but over that year I had found time for writing in my day and I just kept going. I wrote 'The Wild Card' and sent it to the Romantic Novelists' Association for a critique. Following their advice I edited it, then sent it to Robert Hale, who took it at once. It was shortlisted for the RNA Romance Prize. Robert Hale has just published my fourth Regency tale, 'The Rake's Challenge'.

2 - What is the best and worst thing you have learned from an editor/agent?

When I sent out the quest story, one agent took the trouble to write a helpful rejection letter. She advised me to use more emotion so that my characters would sweep the reader along. It sounds so obvious but I needed that push not to be so buttoned up. Later, another agent warned me that stories must not be just publishable but marketable. She also advised me that Regencies don't sell well in the UK. I have a couple of ideas for stories in different time periods but they are on the back burner for now. I still have plenty of Regency adventures to write. My editors at Robert Hale are very helpful, but I had to learn 'house style'. I only ever argue over historical accuracy.


3 - Favourite authors?

I have been reading and rereading Jane Austen's novels since I was twelve. I always find something new in them. Wilkie Collins and George Eliot are also favourites. Georgette Heyer gave me the idea that the Regency period was elegant and full of adventure, so she has been a big inspiration. Then there's Loretta Chase and Nicola Cornick. And I must mention R D Blackmore and 'Lorna Doone'. Was there ever such a love story? *sigh*

4 - What is your typical day?

It starts when the cat pulls on the back door handle to call me because he's hungry. When Sir is fed I make a cup of tea and go back to bed to read what I wrote the night before. I add and alter and often get carried away by new ideas and rush down to the study to rewrite or develop something.
During the day I deal with general tasks, otherwise I'd disappear under a sea of papers and the hedge would reach the moon. I settle down to write in the evenings. What with background reading and checking details on the internet, it often gets to the wee small hours before I realise that the time has gone. Writing is like going away on holiday - and I don't want to come back.
I also travel a lot, which disrupts my writing, even though there is usually a research element to my journeys. For example, in July I visited a marvellous little palace in Istanbul; and in October I'll be hunting in the Pyrenees for a suitable castle for my hero's family home. They are both for the hero of my wip, an Ottoman Regency. It takes place in 1811 as that is when Lady Hester Stanhope was in Constantinople [Istanbul] and she plays a vital role in the story.

5 - Do you plan your books? Or write it as the dialogue/action comes to you?

Each story starts when I've collected enough faces and places. They come from all over, maybe an inflight magazine, a newspaper or a postcard from a museum. I spread the pictures out on the table and pair them off, adding friends, families and villains. Then I select homes for them all. The story sparks from something in one of those faces. Within an hour or so I'll have an outline plot. Over a few days it develops into a story and some episodes are vivid in my mind. I write this outline down as a guide - but it will only become a detailed plan when I know my characters better. It always seems to happen when I reach chapter 9. So the characters lead me along, really.

6 - What surprised you the most when you became published?

The thrill of holding my first book will remain with me always. Perhaps the greatest surprise was the amount of time and effort that is needed to publicise your books.

7 - Do you have a dedicated writing space? What does it look like?
We have a small study [my husband and I were modern languages teachers] with lots of bookshelves and a big desk that is crowded with papers and pots of pens. I work on a desktop computer. If inspiration fails I look up at the books, photos and pictures to get ideas moving again. To my right is the window, and just outside is a rambling rose bush - with thimble-sized pink flowers, which adds a romantic note. There is also an exercise bike that I use while reading bits of research or the pages I've just printed off.

8 - What’s next for you?

My wip is another Ottoman Regency, with more focus on the oriental way of life this time. My husband was Turkish [and a poet] and we lived in eastern Turkey for some years, so I have plenty of material for the background for my Ottoman stories. Robert Hale has just brought out a Kindle edition of my second story 'In All Honour'. It's exciting to join the ebook world. Then I want to write the next of my Byron books. My heroine in 'The Rake's Challenge' is a devoted Byron fan, like her three schoolfriends. I think they deserve a story as well.

Friday 17 February 2012

Seductive Supper

In Scandalous Lady, the hero tries by many ways to persuade the heroine into agreeing with his plan. His first method is to woo her with an exotic feast. Chief among the tempting dishes is Circassian chicken.

Would it tempt you? [ but go easy on the red pepper to start with !]

                                       Circassian Chicken /  Cerkez Tavugu


[Chicken with walnut sauce]




Chicken                            1 medium size [1 - 1 1/2 kg ]
Walnuts (halves)                3 cups
Bread (stale)                     5 thin slices
Garlic                                4 cloves
Salt                                   2 teaspoons
Black pepper                    1 teaspoon
Chicken broth                   2 ½ cups
Olive oil                            2 teaspoons
Red pepper                       ½ teaspoon


Instructions for 6 servings

Simmer chicken in water for 35 minutes or until tender; drain. Reserve broth. Bone chicken. Remove skin.
Cut or tear into 5-6 cm (2-2 ½ inch) long and 1-1 ½ cm (1/2-3/4 inch) thick strips.
Arrange in a serving dish. Set aside.

Combine walnuts, bread slices (soaked and squeezed dry) and garlic; mix well.
Place into blender or a food processor. Process until well blended. Add salt, black pepper and chicken broth gradually blending thoroughly until it gets medium white sauce consistency.
Pour over chicken. Heat the oil and stir in red pepper. Remove from heat and sprinkle over walnut sauce.

Serve at room temperature.


Monday 6 February 2012

The Magnificent Century

A Turkish soap, showing the main events of the reign of Sultan Suleyman the Magnificent and his red-haired wife, Hurrem.

It was traditional for all the sons of the Ottoman royal family to learn a practical trade. Suleyman was a goldsmith. In the soap he designs beautiful jewellery for the ladies of his family. Hurrem's emerald and diamond ring has become a best selling item all over Turkey, from genuine jewels in an expensive jewellery boutique to a cheaper version on a market stall.


Hurrem's emerald ring


Prince Mustafa - also with splendid jewels on his turban.

Friday 3 February 2012

An Eighteenth Century Turkish coffeehouse


 The first coffeehouse ever was opened in 1554 during the reign of Suleyman the Magnificent in the Tahtakale district of Istanbul, a vibrant commercial centre even today. The first people to attend this first coffeehouse were people pursuing the mundane pleasures of idly enjoying the moment (there is a specific word for this in Turkish called ‘keyif'), as well as the educated class of society. Some would come to read in the coffeehouse, others would play backgammon or chess, some would engage in conversations on art and culture.
There were also a number of coffeehouses with decorative pools or fountains during the Ottoman period, as the Ottomans believed in the soothing power of watching water. The coffeehouses were subsidized by the local rich people.


The introduction of tobacco increased these places' popularity tremendously. The powdered tobacco [called 'shisha' ] is smoked through a hookah [narghile]. 
[Picture of narghile courtesy of Ozledim.NET]



Canaries were considered ‘good luck' for Janissary coffeehouses. In big coffeehouses, there would be as many as thirty to forty birdcages.







[All part of my research for 'Scandalous Lady', set in 1811 ]

Tuesday 3 January 2012

The Ottoman Harem [ Part 3 ]

The Organisation of the Harem.

Throughout the Ottoman Empire, the imperial harem was under the control of the Sultan's mother, known as the Valide Sultan. She was the equivalent of the queen in European monarchies. To show her rank, she had the title of "sultan", a privilege bestowed only on the mother, blood sisters, and daughters of the sultan.
The Valide Sultan was an outstanding figure respected and feared not only by the rest of the women in the harem, but also by the chief executives of the state. She presided over and administered the harem, managed her assistants and dealt with only very important matters. The rest of the harem affairs were handled and organized by her ministers.



The Chief Black Eunuch was the senior aide to the Valide Sultan, acting like a prime minister for her, and conveying her wishes to the Sultan. He was also responsible for the women in the Harem. The Chief Black Eunuch also acted as a liaison between the Harem and the outside world, which gave him immense status and respect. In some cases he had the power to appoint various people to important posts in the palace, provided that his choice was approved by the Valide Sultan.

A large staff of attendants and servants, comprising often more than a hundred women of various ages, was under the supervision of the Valide Sultan. They were performing their tasks in a very complex hierarchy. However, the actual running of the Harem was shared by two women; Kahya, "Head Housekeeper" and Haznedar Usta, "Head Treasurer". Haznedar Usta was responsible for the financial matters of the Harem, and she acted like a treasurer, allocating cash allowances and material possessions to harem women in direct proportion to their rank.



After Kahya and Haznedar Usta, came the Kalfas, the senior maids who were responsible for various duties: First Secretary, First seal-bearer, First Mistress of Robes and so forth. They were assisted by lesser servants called Halayiks, These were all positions of high esteem and would be occupied by the women who had gradually advanced in all parts of the Harem's training, but who did not have a chance to become a wife (Kadin) or favorite of the Sultan.

After the Valide Sultan, the most important women were the Kadins or Kadinefendis, the wives of the Sultan. Even though the Kadins were not officially married to the Sultan, they were much respected and reckoned as official wives. They had their own apartments, odalisques, slaves, jewels, dresses, and allowances that were in proportion to their rank

Eunuchs
Undoubtedly, such an important place, where hundreds of women lived together wouldn't be left unprotected. Eunuchs were the solution. They were castrated slave men who were either captured in wars, or recruited from all over the empire. Black eunuchs usually came from countries like Egypt, Sudan and Ethiopia, whereas white eunuchs were acquired mainly from the Balkans and the Caucasus.

The Kizlar Aghasi - The Chief Black Eunuch

The Black Eunuchs were mainly guardians of the harem, but they were also assigned to various services within the harem hierarchy. They belonged to the category of Sandali, which means; their genitals were completely removed so that they wouldn't pose any sexual threat to harem women.
The White Eunuchs were assigned to several duties within the government, usually fulfilling the secretarial and bureaucratic work of government officials. Some of them even succeeded to be in the direct service of the Sultan himself. Their castration procedure, however, differed from that of the black eunuchs, by removing testicles only due to the fact that they were not in contact with the harem women.

All the black eunuchs in the harem were supervised and controlled by the Chief Black Eunuch, the "Kizlar Agasi", (also known and spelled; "kizlar agha", "kislar agassi", "harem agasi"). The high ranking ladies in the harem usually did not see the eunuchs except the chief black eunuch. The chief black eunuch held a very important position not only in the harem, but within the Ottoman administration as well. He was the most important connection, and served as a liaison between the Sultan and his mother, the Valide Sultan. His rank was somewhat equivalent to that of "pasha" (Ottoman general), and he acted as an envoy between the Sultan and the Grand Vizier (the prime minister of the Sultan), carrying messages between them. Moreover, he was involved in almost every palace intrigue and contrivance, enabling him to build up power gradually, and establish dominance over the Grand Vizier, some other important state officials, and even the Sultan himself.

The Chief White Eunuch, "Kapi Agasi" (also spelled Kapi Agha) was the senior executive of the white eunuchs who were in charge of the inner service, the palace administration. He was also the head of the Palace School.

My thanks to Umit Sonmezler for the information in this post.

                             ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


          When Aunt Emily collapses with a fever, she and her two nieces are whisked away by Kerim Pasha into his luxurious mansion, where they experience a lifestyle of oriental splendour.


Tuesday 6 December 2011

The Ottoman Harem [Part 2]

The Structure and Hierarchy of the Harem


Acquisition of Slave Girls : Young non-Muslim girls of breathtaking beauty, chosen from the slave market, were sent to the Sultan for his harem, often as gifts from his governors. These girls were usually from the Caucasus region; Georgians, Circassians, and Abkhasians. They were either kidnapped or sold by their parents. Many poor Circassian and Georgian families used to take their own children to the market, and encourage them to enter the life of concubinage, which they hoped, would promise a better future. There were also girls taken by pirates and sold in the slave markets in Istanbul; as well as girls presented as gifts by certain European ruling families. The intention here was to place a spy in the harem and to encourage the Sultan to look favourably on trading or political agreements with that country.

Admission to the Harem : Before being admitted into the harem, these girls were thoroughly examined by trained concubines (cariye) and the chief eunuchs (haremagasi) to make sure the girls had no physical defects or weaknesses. If a girl was found to be eligible, she was presented to the Valide Sultan (Sultan's Mother) for final approval.

Once she was accepted into the Sultan's harem, her name would be changed - often to a Persian one, according to her particular qualities or appearance. For example, Laligül (Ruby Rose) and Nazgül (Shy Rose) or, if a girl had charming rosy cheeks, most probably she would be renamed "Gulbahar" meaning Spring Rose.

The cariyes' courtyard, where the girls slept.

Training : These acemi (novice) girls were immediately converted to Islam and began an elaborate training in Ottoman culture, the Turkish language, and palace etiquette. After a certain period of basic training, they were called odalisk or odalik and assigned to several duties depending on their talent and beauty, and they would be supervised by trained concubines (kalfa and usta).

The word, odalisque comes from oda (chamber), and odalisque means "chambermaid". Odalisques were at the very bottom of the harem hierarchy and were not yet concubines, however, there was always a possibility that one day they could become one. They never served the Sultan himself, but rather served as chambermaids to concubines, wives, and other important royal members of the harem. Any odalisques with charm, beauty and self-confidence, would be selected to become concubines. They were taught to sing, dance, play musical instruments, recite poetry, embroider and so on.

Some of the most beautiful odalisques showing exceptional abilities, were selected to serve the Sultan in person; in other words, they were promoted to the very important position of gedikli (maids-in-waiting). They were responsible for the Sultan's ultimate comfort and relaxation. Their duties included bathing and dressing him, doing his laundry, and serving his food and drinks.

An Odalisk serves coffee to the Valide Sultan

Other odaliks were assigned to particular jobs and placed in the service of the Valide Sultan, the kadins (wives), the Sultan's daughters, high ranking cariyes (concubines), or the chief black and white eunuchs.


Note: I am indebted to Umit Sonmezler for some of the above information.

Saturday 3 December 2011

The Ottoman Harem [Part 1 ]

Cariyes - Concubines


Life in the Ottoman harem was very different from what was imagined by Europeans.  In Ottoman society, as an institution, harem life reflected the secluded privacy of family life.

The 'cariyes' served the sultan's wife or his mother. Under the guidance of the sultan's mother, they were taught to read and write, play music, and to follow the intricate rules of palace etiquette and protocol. They were trained and educated in the skills and accomplishments considered appropriate for women at the time. After 9 years in service they were allowed to marry.  Very few were honoured even by the privilege of waiting at the sultan's table, and still fewer became royal wives.  Hurrem Sultan  was a good, but rare, example of palace opportunities for cariyes.  

Among the cariyes it is commonly believed that there were many in the harem from noble families of Europe. - for example:

Hürrem Sultan, maiden name 'Alexandra', wife of Süleyman the Magnificent, Ukrainian- Polish
Nur-Banu "Princess of Light" ,  maiden name ' Cecilia Venier-Baffo' , wife of Sultan Selim II, Italian
Kösem Sultan "Mahpeyker",  maiden name ' Anastasia', wife of Sultan Ahmet I, Greek
Hatice Turhan Sultan, maiden name 'Nadya' wife of Sultan Ibrahim,
Ukrainian   

Nakshidil "embroidered on the tongue " , maiden name 'Aimee du Buc de Rivery', wife of Sultan Mahmud I, French   [ this one remains doubtful, although there is some evidence that she was Aimée, cousin of Napoleon's Josephine]

An Iqbal
 
After nine years of service the harem girls or 'cariyes' were given their leaving document. In addition, they received a set of diamond earrings and a ring, a trousseau and some gold as their marriage portion. After the harem, their lives and well-being were closely supervised or else suitable husbands were found for them. Outside harem life, they were renowned for their good breeding and for their discretion, never being known to reveal any intimate details about the royal family to outsiders. 
Nevertheless, graffiti on the harem walls shows that not all cariyes were contented with their lot:  'Dilferib whose heart burns / Is wretched / O God / Alas alas.'