Eccentric Heroines: Interview Part I

Pat Rice here:

Andrea under her Penrose name has the second in her Wrexford and Sloane Regency Mystery series, MURDER AT HALF MOON GATE out this month. Since I have the first in my romantic mystery Crystal Magic series, SAPPHIRE NIGHTS, out on the same day (3/27), we thought we’d interview each other—it saves us from talking too much about ourselves!

This will be a two part interview and today we ask: Both our heroines are disconnected from their families and gain strength from engaging with eccentric communities unlike the environment in which they were raised. How does this affect the heroine? The story?

I admit, I don’t really plan how my stories play out. I had this vivid scene in my mind of a woman driving a dark road, having no idea where she’s going or why. And I’d also been toying with the notion of an isolated town where various descendants of my historical Malcolm and Ives might find each other in modern day California. So I really can’t say if the eccentric characters in SAPPHIRE NIGHTS came before my amnesiac heroine or not, but from the very first page, we know Samantha is searching for family. That was my subconscious working because I didn’t know her story then.

Even though Sam doesn’t know anyone in Hillvale, and she hardly knows herself, she finds ways to fit in. By losing all memory of who she thought she was, she’s able to discover the essential Samantha, the person she’s meant to be instead of the one the society she was raised in wanted her to be. Given that the person she is happens to be a bit extraordinary, she really needs an extraordinary community to recognize that she’s special. And because most of the inhabitants of Hillvale are willing to accept that she can grow bountiful plants with almost no effort, and encourage her to sense energy sources by waving a stick, she learns to accept the new normal.

In return for this acceptance, Samantha is willing to help her new friends to solve a mystery she would never have undertaken had she stayed in her former life. I’m pretty sure essential Samantha would have fallen for the wounded hero in either life, but a town that accepts her gives her the strength to meet him on his own terms.

I can’t reveal too much of what she learns from her new friends without giving away half the story, but imagine that you have an amazing musical ability but were raised in a family who can’t hear music. How would you discover who you are until you’re with people who recognize what you can do? Family may love you, but they may not see the whole you. Sometimes, we have to turn to friends to truly fulfill our potential—no matter how odd or eccentric they may be.

From Andrea:

I’ve always tended to write unconventional heroines, and by their very nature those who go against the grain tend to be loners. With Charlotte Sloane, the heroine in my Wrexford & Sloane historical mystery series I found myself intrigued by exploring just how far I could push that concept.

When we first meet Charlotte in Murder on Black Swan Lane, the first book in the series, she’s a recent widow living in a hardscrabble neighborhood with nothing on which to survive but her own wits. There are hints that she’s alienated from her past and living in a unfamiliar world, with no family or close friends for support. But it’s also clear she’s voluntarily chosen these challenges as the only way to live life on her own terms (I can’t say more as that would give away some of the mystery.)

She doesn’t have money, but she’s gritty, resourceful, and possesses artistic talent—as well as the moxie to use such skills to take over her late husband’s persona of A. J. Quill, London’s most popular and scathing satirical artist. Charlotte’s living depends on her skill for ferreting out the most private secrets of others. I’ve used that to create an elemental conflict for her, for she’s harboring deep secrets of her own—ones that she thinks will make her vulnerable if she ever shares them. And in her world the weak are devoured, so she’s wary, and determined to be tough and coldly pragmatic.

 But Charlotte does have a weakness. She cares deeply about right and wrong, truth and justice. So her idealism leads her to become involved in solving the lurid crimes she draws for the public’s entertainment. However, solving crimes requires making judgments about who can be trusted . . .

To her surprise, Charlotte finds unexpected allies—two streetwise urchins, a brilliant but irascible aristocrat and his frivolous friend, a disillusioned surgeon. They are all outcasts in one sense or another, all fiercely independent and sure that they’re better off on their own.

  So one of the core themes I’ve really enjoyed exploring in my new book, Murder at Half Moon Gate  is how we define our inner strengths and weaknesses. In the first book, Charlotte has begun to weave tentative friendships, and now, to her consternation, she’s grappling with the realization that accepting help doesn’t mean she has to sacrifice her sense of self. In fact, friendship and loyalty can make her stronger than she ever imagined. It’s also been fun playing with the concept of family, and what lies at the heart of the bonds that tie us all together.

What do you think of heroines who have to find their own way in the world? Does it make a difference if the heroine is in a straight contemporary or historical romance? A mystery? We’re offering digital copies of MURDER AT HALF MOON GATE and SAPPHIRE NIGHTS to a random commenter!

Comments

[Patricia Franzino]

I applaud heroines in any time period who must find the strength within themselves to go forward and have a life without feeling they must fall back on a relationship with a man to do so.

I would imagine it would be easier in today's world to navigate a life of your own as long as you live in a Western country. In the past, you were lucky to survive to an older age without disease and unsanitary conditions killing you let alone having the leisure to find a life you can feel good about.

[Sue McCormick]

I guess I say this fairly endlessly: If It's well-written, and I believe in the character, I don't much care about the circumstances.

We all must find our way. In modern times, most of us must earn our livings, So reading about heroines (or heroes) with that problem is a good read.

In the previous post about minor characters one of the responders mentioned Perry Perriam. Both he and his sister (of the Scandalous Countess) are of the haut ton. Each has true problems, compounded by parents who see their children only as pawns. These two stories are two of my favorites from Jo Beverley.

I think finding your way is one of the most important plot paths (tropes?) that gets written, whether the characters are conventional or not. (Should I also mention Anne Gracie's Chance sisters in this vein?)

[Tempest]

I'll echo Sue -- I like it when it's well done. I also like it when the heroines have sense enough to build a family/community along the way. (Found family is kind of my catnip.)

Not to say I don't appreciate a heroine having to negotiate the trickiness of who to trust . . . and this does work so beautifully with mysteries. I love heroines discovering how to trust and that accepting help isn't a weakness.

[Patricia Rice]

Yes, in historicals, the challenge of giving the heroine a chance that we take for granted these days is fun for a writer. But all of us have different strengths we can call on, if we're forced to do so!

[Patricia Rice]

You are welcome to name any author at all, but you know you're talking about some of my favorites! We probably ought to make more of a connection between finding ourselves before we can find true love. Must think about that.

[Patricia Rice]

Thank you, yes! Found family fascinates me too. I'm not sure how other families create the close connections we like to pretend is universal. Most of us have to find our real families.

[Andrea Penrose]

Patricia, women have had special challenges in finding their own way. It's really only in very recent history that such a concept was really thinkable (Though many strong women did manage to forge a path of their own choosing. I'm in awe of the strength that must have taken.)

It's true that today we have much more leisure in which to contemplate the good life. Our forebeaers were more concerned with simply having enough to eat and a place to sleep!

[Andrea Penrose]

As always, such a thoughtful reply, Sue. Yes we all have to find a way in life. The books that resonate with me tend to be the one where characters go against the grain—which takes extra strength—to dare reach for their dreams. (And as Pat says, of course we cam mention author names here )

[Andrea Penrose]

Tempest, realizing that being part of a community/family is a strength, not a weakness is always an appeal trope to me. I really think it's so true.

[Quantum]

I like to see a heroine fighting back against prejudice and finding her own way. Even today I think that 'equal pay for equal work' is still a strong goal for many women. Just finished the audio version of 'The Wicked Wickerly' and loved the way that rhu-Barbara, a country lass, flouted convention, fought against external pressure and married her indebted gambling Earl.

I also liked the way that Charlotte in 'Murder on Black Swan Lane' uses a nom de plume for publishing her satirical cartoons ... reminded me a little of Julia Quinn's Lady Whistledown.

Yes a feisty determined lass with unconventional attitudes is definitely a plus ... as long as she also has a sweet soft center!

[Patricia Rice]

Thank you, Quantum! We can't always come up with heroines who put down their feet and say "This is what I want," but it's fun when we can! And then coming up with that sweet center... wow, you don't ask much. ;)

[Andrea Penrose]

Ha! Hard exterior and soft interior! There must be a term in physics for this, Quantum!

I'm drawn to writing unconventional heroines who dare to challenge the rules in order to achieve what they want. Women do tend to have to push to do this.

So glad you enjoyed Charlotte.

[Janga]

Both books will be on my Kindle tomorrow. I look forward to reading them. I'm definitely in favor of meeting Malcolm-Ives descendants, and I've been eager for more Wrexford & Sloane since I finished the first book.

I want a strong heroine, but I think strength comes in many guises. Some of my favorite heroines are unconventional. I recently read an ARC of Katharine Ashe's The Prince, and I loved her heroine, a young woman who must disguise herself as a man in order to gain the knowledge she needs to become a surgeon. On the other hand, some of my favorites are more conventional. For example, Catherine Melbourne in Mary Jo's Shattered Rainbows is high on my list of all-time favorite heroines.

[Anne Gracie]

I also love unconventional heroines, as long as historical heroines don't behave in contemporary ways without consequences. Pat, I love the concept of a heroine discovering who she is, apart from the influences she was raised in, and coming to a new understanding of herself. I'm currently reading a fantasy novel in which the hero and heroine slowly come to realize that the "truths" and certainties they were raised with, are different in every society they encounter — and so they learn to think for themselves.
Andrea, I also love the concept of a heroine who was previously in the shadow of a husband, stepping out and making her own way in a difficult world.

[Linda D Johns]

I enjoy reading about a woman who does not want to be someone's lapdog. Even in this day and age women are not treated fairly most of the time. A real man is not afraid of women and enjoys being around smart women.

[Annette N]

I think that unconventional heroines are pretty realistic. In the real world, generally mature people do not fit into pigeon holes. I believe that happens as a person becomes an adult. Teenagers are more likely to dress alike, act alike and talk alike to fit in with the crowd.

After a certain period of time, adults look around, think that is too much work, and decide to be individuals.

It may be something as tiny as personal hobbies, the way a person dresses or simply what one reads for entertainment. But, if you look closely at someone, you can see that each of us is unique and wonderful in our own way.

[Patricia Rice]

Thanks, Janga! The Malcolm/Ives connection isn't obvious in the first book other than one offstage character, but it builds in the next books.

Mary Jo always writes heroines who have the strength to rise to the occasion, which is a wonderful trope. Normal, everyday women confronted with terrible dilemmas have to step out of their comfort zones.

[Patricia Rice]

Creating characters who learn to think for themselves sounds like a fascinating idea to build on! Not easy to write though.

[Patricia Rice]

giggling to myself here as I work out the current characters who both think of themselves as big and strong and capable of taking care of the entire planet if called upon. It's a push-pull situation for sure!

[Patricia Rice]

well said! Most kids are malleable but experience widens and hardens them in wonderful ways.

[Maryellen Webber]

I love reading historical heroines who have a strong sense of self. It drives me crazy when authors give them contemporary type situations or just deviate from the historical genre. (Hope this makes sense) I am looking forward to reading the new Wrexford and Sloane mysteries.

[Andrea Penrose]

Thanks so much, Janga!

So true on strength coming in different guises. We all have different ways of meeting challenges, some of which we don't even know we have until we're tested. I'm drawn to writing heroines who are willing to face—and conquer—their fears in order to achieve their goals.

[Andrea Penrose]

Anne, I think all of us Wenches write independent women, who fight to have their own identity and self-worth in life. I find it endlessly interesting to delve into how individuals do that. And I like that our books give than positive message to our readers .

[Andrea Penrose]

SO true, Linda! Alas, there is still a w lot of work to be done on that front!

[Andrea Penrose]

Teenagers are still unsure of who they are, so are afraid of being labeled "different." As we grow, we gain more confidence, or simply don't want to pretend to be other than who we are.

And when you're comfortable in your own skin, you're usually happier!

[Andrea Penrose]

You make absolute sense, Maryellen. I love historical heroines who have a sense of self, but also are true to their times. Their conflict and pushing of the boundaries has to be believable within the context of the society in which they lived. An author can play a bit with that, but it has to make sense.

Hope you enjoy the new Wrexford and Sloane release!

[Kareni]

I like both conventional and unconventional heroines, and I'm happy to read about them in just about any genre save for horror. I've nothing profound to add to the discussion, but I enjoyed the post and comments.

[Patricia Rice]

Thank you! Were not looking for profound, just good readers!

Patricia Rice
http://patriciarice.com

[Kareni]

Then I'm definitely in the right place!

[Jenny Wilcox]

I wholeheartedly support the idea of women finding their own way. We do not know how strong we are or of what we are capable until we are put into difficult circumstances. I will be reading both these books. Go for it, girls!