Three Musketeers Movie Trailer

Posted on March 29, 2011 by Regina Jeffers

This one is in 3D and nothing like what you remember of the Dumas classic. Of course, it has Matthew Macfadyen in it, as well as Orlando Bloom.

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RITA Award Finalists

Posted on March 28, 2011 by Regina Jeffers

The Romance Writers of America have announced their contenders for the coveted RITA Award. Below are the finalists:

2011 RITA Finalists for Best First Book
Enemy Within by Marcella Burnard 
Firestorm by Kelly Ann Riley 
I Now Pronounce You Someone Else by Erin McCahan 
The Iron King by Julie Kagawa 
Pieces of Sky by Kaki Warner 
The Summer of Skinny Dipping by Amanda Howells 
A Tailor-Made Bride by Karen Witemeyer 
Wanna Get Lucky? by Deborah Coonts 
When Harry Met Molly by Kieran Kramer

2011 RITA Finalists for Contemporary Series Romance
Breaking the Sheikh’s Rules in the Summer Sheikhs anthology by Abby Green 
Christmas Magic on the Mountain by Melissa McClone 
Christmas with Her Boss by Marion Lennox 
Dare She Date the Dreamy Doc? by Sarah Morgan 
Red-Hot Renegade by Kelly Hunter 
An Unexpected Father by Lisa Ruff 
Welcome Home, Cowboy by Karen Templeton 
Zoe and the Tormented Tycoon by Kate Hewitt 

2011 RITA Finalists for Contemporary Series Romance: Suspense/Adventure
The Baby’s Guardian by Delores Fossen 
Case File: Canyon Creek, Wyoming by Paula Graves 
To Catch a Killer by Kimberly Van Meter 
A Cop in Her Stocking by Ann Voss Peterson 
Meltdown by Gail Barrett 
The Moon That Night by Helen Brenna 
Perfect Partners? by C.J. Carmichael 
Renegade Angel by Kendra Leigh Castle 

2011 RITA Finalists for Contemporary Single Title Romance
And One Last Thing by Molly Harper 
Happy Ever After by Nora Roberts 
Lead Me On by Victoria Dahl 
Not That Kind of Girl by Susan Donovan 
Nothing But Trouble by Rachel Gibson 
One Fine Cowboy by Joanne Kennedy 
Simply Irresistible by Jill Shalvis 
Still the One by Robin Wells 

2011 RITA Finalists for Historical Romance
Countess of Scandal by Laurel McKee 
The Forbidden Rose by Joanne Bourne 
His at Night by Sherry Thomas 
A Kiss at Midnight by Eloisa James 
Last Night’s Scandal by Loretta Chase 
A Little Bit Wild by Victoria Dahl 
One Wicked Sin by Nicola Cornick 
Open Country by Kaki Warner 

2011 RITA Finalists for Inspirational Romance
A Convenient Wife by Anna Schmidt
Doctor in Petticoats by Mary Connealy
Finding Her Way Home by Linda Goodnight 
In Harm’s Way by Irene Hannon 
Maid to Match by Deeanne Gist 
Shades of Morning by Marlo M. Schalesky
The Wedding Garden by Linda Goodnight 
Whisper on the Wind by Maureen Lang 
Within My Heart by Tamera Alexander 

2011 RITA Finalists for Novel With Strong Romantic Elements
Blood Vines by Erica Spindler 
The Dead Travel Fast by Deanna Raybourn 
Killbox by Ann Aguirre 
On Folly Beach by Karen White 
The Search by Nora Roberts 
Stormwalker by Allyson James 
Wanna Get Lucky? by Deborah Coonts 
Welcome to Harmony by Jodi Thomas 

2011 RITA Finalists for Paranormal Romance
Enemy Within by Marcella Burnard 
A Highlander’s Homecoming by Melissa Mayhue 
Immortal Sea by Virginia Kantra 
Marked by the Moon by Lori Handeland 
Rebel by Zoe Archer 
Sins of the Heart by Eve Silver 
Unchained: the Dark Forgotten by Sharon Ashwood 
Water Bound by Christine Feehan 

2011 RITA Finalists for Regency Historical Romance
His Christmas Pleasure by Cathy Maxwell 
The Mischief of the Mistletoe by Lauren Willig 
Nine Rules to Break When Romancing a Rake by Sarah MacLean 
Provocative in Pearls by Madeline Hunter 
To Surrender to a Rogue by Cara Elliott 
Twice Tempted by a Rogue by Tessa Dare 
When Harry Met Molly by Kieran Kramer 
The Wicked Wyckerly by Patricia Rice 

2011 RITA Finalists for Romance Novella
“Blame It on the Blizard” by Jennifer Greene in Baby, It’s Cold Outside 
“A Dundee Christmas” by Brenda Novak in That Christmas Feeling 
“Friendly Fire” by Jill Shalvis in Born on the 4th of July 
“Love Me to Death” by Maggie Shayne in Heart of Darkness 
“Mistletoe Magic” by Sandra Hyatt in Under the Millionaire’s Mistletoe
“Mountain Rose” by Cheryl St. John in To Be a Mother )
“Shifting Sea” by Virginia Kantra in Burning Up 
“The Wrong Brother” by Maureen Child in Under the Millionaire’s Mistletoe 

2011 RITA Finalists for Romantic Suspense
The Darkest Hour by Maya Banks 
Deadly Fear by Cynthia Eden 
Edge of Sight by Roxanne St. Claire 
Indulgence in Death by J.D. Robb 
Kill Me Again by Maggie Shayne 
Love Me to Death by Allison Brennan 
Silent Scream by Karen Rose 
Two Lethal Lies by Annie Solomon 

2011 RITA Finalists for Young Adult Romance
Chasing Brooklyn by Lisa Schroeder 
The Clearing by Heather Davis 
Clockwork Angel by Cassandra Clare 
I Now Pronounce You Someone Else by Erin McCahan 
The Iron King by Julie Kagawa 
Rules of Attraction by Simone Elkeles 
The Summer of Skinny Dipping by Amanda Howells 

So, how many of these have your read? What is your favorite genre to read?

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Confessions of a Period Drama Addict

Posted on March 24, 2011 by Regina Jeffers

Confessions of a Period Drama Junkie

My name is Regina, and I am a
Period Drama addict!

I admit it: I prefer Period Dramas to all other film genres. Give me men who take pride in their appearances and women who do not, literally, allow it to “all hang out.”
I find as I peruse the many pieces offered each hour and each day on my “fine HD” television, that I can find nothing worth watching. I screen through the many channels (something which used to drive me crazy with my ex-husband, but that is an entirely different post), and I ultimately end up watching a period drama. I go through my cable listing, and then I take a turn with BBC America, Starz, The Movie Channel, Showtime, Sundance, Chiller, Flix, Encore, etc. Today, I watched Great Expectations, Emma, 1918, and Daisy Miller – all of which I have seen multiple times. In addition, I own some 50+ DVDs that could be considered Period Dramas.

I know from where this obsession came. Blame it on my narrow childhood. Not only did we listen to the same music as our parents, but we also actually watched television together. We swooned over the same heroes as our mothers and admired the same “manly men” as our fathers. I grew up on dramas such as Shogun and The Thornbirds – on movies such as Von Ryan’s Express and Little Women. Be it of a British or Old World nature or the latest Western, that was the milk of existence.

Therefore, take a stroll with me down memory lane. I have combined the covers of some of my favorite period dramas in the slideshow below. (There are no Jane Austen covers in this montage.) Tell me which ones were your favorites and maybe add the names of some others to the list by leaving a comment. I will check in regularly to see what you think.

 

http://pf.kizoa.com/sflite.swf?did=1533944&k=P143187481&hk=1

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Elizabeth Taylor – Dead at Age 79

Posted on March 23, 2011 by Regina Jeffers

Television is reporting the death of Elizabeth Taylor from congestive heart failure at age 79. Immediately, I thought of her many film roles. Do you have a favorite Elizabeth Taylor movie? In my classroom, I regularly used “The Taming of the Shrew,” in which she portrayed Katharina to Richard Burton’s Petruchio. However, I can remember many others, which I loved. Taylor was stunning as Leslie Benedict in “Giant,” playing a woman loved by both Rock Hudson and James Dean. She was also brilliant as Martha in “Who’s Afraid of Virginia Woolf,” as Maggie Pollitt in “Cat on a Hot Tin Roof,” as Susanna Drake in “Raintree Country,” and as Gloria Wandrous in “Butterfield 8.”

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Another Guest Blog – Another Chance to Win “The Scandal of Lady Eleanor”

Posted on March 21, 2011 by Regina Jeffers


I am guest blogging today with Mia Marlowe at Timeless Romances. Come join me for a chance to win a signed copy of The Scandal of Lady Eleanor.
http://www.miamarlowe.com/blog

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Chance to Win a Signed Copy of “The Scandal of Lady Eleanor”

Posted on March 20, 2011 by Regina Jeffers

I am blogging today at the Risky Regencies website. Come join me for a chance to win a signed copy of The Scandal of Lady Eleanor. Publishers Weekly just call this book, the first in my Realm series, a “knockout” novel.
http://www.riskyregencies.blogspot.com

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“New” Mr. Darcy

Posted on March 19, 2011 by Regina Jeffers

I found us a “new” Mr. Darcy, Ladies, except he spells his name D’Arcy. Gordon D’Arcy is the center for the Irish National Rugby Team, which defeated a very young and inexperienced English team earlier today. I know it is a blasphemy, but instead of watching March Madness, I switched on BBC America and took in some “manly” games.

 


From the official website comes this information, “THE DYNAMIC centre made a try-scoring return in the opening match of the 2009 RBS Six Nations against France, after being out for a year with a broken arm sustained against Italy in the 2008 Six Nations.

Having made his debut as a replacement against Romania at the 1999 Rugby World Cup, it was a welcome return for the former Clongowes Wood College pupil. D’Arcy reclaimed his centre spot alongside Brian O’Driscoll for the remainder of the 2009 RBS Six Nations and helped Ireland to a historic Grand Slam.

A few weeks later D’Arcy added to his silverware with a Heineken Cup winners medal for Leinster.

 

D’Arcy was then called up to the B&I Lions after another eye catching display for The Barbarians against England.”

I wonder how Gordon D’Arcy would look in a waistcoat and cravat. Check out www.irishrugby.ie/squads/index.php for the full roster and news on the sport.

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The Road to Pemberley

Posted on March 18, 2011 by Regina Jeffers

Ulysses Press and Marsha Altman are thrilled to announce an anthology of new Pride and Prejudice stories in The Road to Pemberley.

(Arriving July 1, 2011)

About the Project

Including over a dozen stories that feature the popular characters and familiar settings of Pride and Prejudice, this new anthology celebrates Jane Austen with a series of brilliant adaptations. Austen’s masterpiece has spawned an entire genre of literature, and The Road to Pemberley brings together the best of the best from published and new writers alike to create a cornucopia of Darcy-and-Elizabeth intrigues.

England during the Regency era, with its country estates, horse-drawn carriages, and formal balls, continues to captivate modern readers, and The Road to Pemberley brings this fabled world to life in all its glory. Each story casts Darcy and Elizabeth in their first full year together at Pemberley, where the storied husband and wife find themselves in the throes of the newlywed experience, navigating a host of new social quandaries, old personal dilemmas, and exciting adventures.

About the Anthologist: Marsha Altman is an author, historian, and expert on all things Jane Austen. Her novels include The Darcys & the Bingleys, The Plight of the Darcy Brothers, and Mr. Darcy’s Great Escape. This is her first Jane Austen anthology.

About the Publisher: Named as one of Publishers Weekly’s ten “fastest-growing small publishers,” Ulysses Press is reinventing the relationship between reader, author, and publisher. Beyond market-driven, Ulysses Press focuses on highly targeted niche 

groups, like Jane Austen fiction, that are often overlooked by corporate-owned New York houses. A leading publisher of fiction based on the beloved stories of Jane Austen, Ulysses has a celebrated and growing line of Regency books, including The Phantom of Pemberley, Darcy’s Passions, The Lost Years of Jane Austen, Sanditon, Vampire Darcy’s Desire, Darcy’s Temptation, and Captain Wentworth’s Persuasion.

My short story, “The Pemberley Ball,” is among those chosen for this anthology. (The titles above in boldface are my Austen-related novels.)


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Sense and Sensibility Part 2

Posted on March 16, 2011 by Regina Jeffers

In December 1995, Columbia/Mirage Pictures released Sense and Sensibility to U.S. theatres. Based on Emma Thompson’s (who won the 1996 Academy Award for Best Screenplay Based on Material from Another Medium) screenplay, this adaptation goes a long way in creating heroes out of what are sometimes seen as bland characters. Last month, we took our first look at the changes made by Thompson. This month, we shall look at those specifically made for Edward and Colonel Brandon. By changing scenes from the novel to portray more sensitive and caring males, Thompson appeals to modern viewers by recasting the novel’s heroes. Let us begin with the “sculpting” of Edward Ferras.

First, Edward displays his paternal side with Margaret, who has just lost her father. In the Norland library, it is Edward who engages Elinor in a lively geography lesson to entice an emotional Margaret from her hiding place under the table. Next, we see Edward sword fighting with Margaret. This is another of Thompson’s fabricated scenes. It is used to demonstrate Edward’s playful nature, his self-effacing personality, and his potential as a loving father. Throughout the next few scenes, Edward makes numerous references to the time he has spent playing pirate with Margaret. His estimation grows before our eyes. We learn to like a man, who indulges children rather than ignoring them.

Additional dialogue and scenes are added by Thompson in which Edward makes an attempt to express his love and devotion to Elinor. In these created scenes he stumbles over his words when they are together in the barn, in the scene where Lucy is in the room with Elinor, and when Elinor speaks of Brandon’s offer of a living. Edward asks for forgiveness but never explains why Elinor should extend it. His lack of speech actually says more than elongated professions of his love. Edward’s emotional discomposure is easily interpreted by the viewer. However, neither the attempts nor Edward’s unexpressed words are found in the novel. Thompson has created an emotionally sensitive hero.

The atlas from the library scene keeps Edward in the audience’s mind even when he does not make the scheduled appearance at Barton Cottage. Therefore, it is disappointing to the viewer when the book arrives in the mail. However, this device helps Thompson tell the story. Elinor can question Edward’s previous attentions to her, and his absence can make Lucy’s story more believable. Thompson speaks of Edward’s betrayal through Lucy’s display of a handkerchief exactly like the one to which Elinor has attached her hopes. In the novel, Edward never gives Elinor any such gift, even in passing. Like the atlas, the handkerchief is a metonymic device to establish Elinor’s emotional turmoil. Remember that Elinor is supposed to represent “good sense.” Emotions attached to the handkerchief or any other gift are not found in the novel.

Likewise, Thompson allows Alan Rickman’s portrayal of Colonel Brandon to express true emotion. The viewer’s introduction to Brandon displays a man mesmerized by Marianne’s performance on the pianoforte. He loves the music and her voice; therefore, we know instantly that he feels passionately about her. In contrast, the novel refers to Brandon as “an absolute old bachelor.” He has spent the evening with the Dashwoods at the Middletons. In fact, the novel says that Brandon “heard her without being in raptures.” Austen’s words are quite different from the scene we know. Add the music scene from the film’s end where Brandon sends Marianne a pianoforte of her own, and we have physical signs of love. Ironically, in the novel, it is Willoughby who shares Marianne’s love of music.

Brandon mimics Willoughby’s pursuit of Marianne. Both men carry Marianne home in the rain. This is a way of transferring Willoughby’s natural, open wildness to Brandon. His tender administrations on Marianne’s behalf makes him a believable substitute for Willoughby. As with Edward, objects keep Brandon in the viewer’s mind: a lawnbowling ball, a knife to cut the reeds, flowers, a book of verse, and a pianoforte. Willoughby gives wildflowers and Brandon hot house roses; Willoughby quotes Shakespeare, and Brandon reads from Spenser. Willoughby and Brandon are no longer polar opposites.

Brandon says, “For there is nothing lost, but may be found, if sought.” We seek a romantic hero and find him in this portrayal. Like Marianne, we are possessed by an emotionally sensitive man that we can love. Austen does not give us the same emotional enhancements. Modern audiences demand the “Cinderella” ending, and, in this film, we lose some of Austen’s cautionary tale of the pitfalls of too much or too little sense and sensibility. Emotional sensitivity becomes a substitute for social restraint. With Brandon’s heroic ride and plea for something to do “or I will run mad,” Thompson eliminates the need for Willoughby’s emotional rehabilitation.

Through the minor characters, we learn the local gossip and the developing drama. This device keeps these characters from “disappearing,” as they did in the novel. Characters who fade into the background on the written page help tell the story in the film. Of the two portrayals, I found Alan Rickman’s the superior one. His subtle manner of displaying Brandon’s feelings for Marianne shows how a mask of reticence can hide one’s true emotions. Hugh Grant’s portrayal, on the other hand, was reminiscent of his 1994’s Four Weddings and a Funeral. He still continued to stammer, but Grant does so with less

 

charm this time around. By the film’s end, I wanted to see the classically awkward and a bit-self absorbed Edward with Marianne, and the passionate, long-suffering, and honorable Brandon with Elinor.

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Austen Actors with March Birthdays

Posted on March 14, 2011 by Regina Jeffers

We have but a limited number of actors being highlighted for March, and I would venture to say that for many of them, that you are familiar with the faces but not their names. This month, we have two women who have portrayed Elizabeth Bennet and two men who took on the role of Frank Churchill. Several of those displayed are essentially TV actors. (The Brits are so much “classier” about television as a profession that are we Yanks.) Yet, those of us who love Austen adaptations to film would be lost without our television offerings.

http://pf.kizoa.com/sflite.swf?did=1524208&k=P128516530&hk=1

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