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Last week I talked about how manipulation of point-of-view can change the entire flavor of what I’m writing. This week, rather than talking about my own writing, I’d like to bring together three things that have passed through my brain recently about understanding and portraying romantic relationships between women in historical settings.

Readers and writers both have strong opinions about point of view, even when that strong opinion is, “Any point of view can work if you’re skilled enough.” I’ve heard authors proclaim that they’ll only use one specific type of point of view because that’s the only one that works for them. Fair enough. One can’t argue with what works.

It may seem premature to think about the results of some of my recent activity, but the fact is that there have already been significant results—and most of them are all in my head.

Sheena (our fearless leader at The Lesbian Talk Show) was chatting with me on facebook about how I write characters, after the review of Mother of Souls came out at The Lesbian Review (her other project), and it ended up turning into an interview for her series The Write Stuff.

Today I have a reader question from Andrei, who has kindly allowed me to answer in this blog:

I really enjoy your books. Lately I've been reading a history book on pre-Revolutionary France and it noted that the Christian message that was preached to the masses by the post-Reformation Catholic Church was one of a angry God, a God of vengeance and wrath that demanded penitence and misery. This sermon that Yves Michel Marchais delivered to his congregation in Western France in the 1780s is quite illustrative:

I just got an acceptance letter from Lace and Blade 4, an anthology of...well, of stories that the words "lace and blade" conjure up, for "Gifts Tell Truth", a new Alpennia story about Vicomtesse Jeanne de Cherdillac in her wild 20s (and a French spy/opera singer). The anthology won't be coming out until 2018, so that's plenty of time for you to get excited about it.

Except for the book release re-boot series, I haven't been blogging as regularly as I like to. May has been a bit crazy in terms of travel/conventions and work pressures (you know, the job that pays my bills). I've had enough LHMP posts in the can to carry my through (though I need to record a podcast tonight that I haven't finished writing yet! The Civil War diaries have been a dropped ball for the last couple weeks. But I keep plugging away at the first draft of Floodtide, day by day.

One of the protections that my Alpennian ladies have for their personal lives is the willingness of Rotenek society to look the other way. To enter enthusiastically into the belief that “nice women don’t do that sort of thing” and therefore that two women who are well-born and respectable could be the closest of romantic friends without ever stepping across the line into forbidden desires.

Have I done a writing blog lately? I've gotten so random with everything except the LHMP and the LaForge diaries that I'd have to look in the blog roll to see.

My day-to-day writing project is still Floodtide. I'm continuing with the tradition that every book has a slightly different writing process. This one feels a bit like I've circled around back to my process for Daughter of Mystery in that I'm just sort of spilling story onto the page as it comes to me with only a bare outline to guide me.

One of my readers (a fellow writer) gave me a topic that could easily turn into a book rather than just a blog, but I’ll try to keep it concise. They asked if I could talk about techniques I use for implying/showing the development or existence of a romantic relationship between characters without simply having the characters state it outright (perhaps because the characters are still working their heads around it) and without using sexual intimacy/desire (whether because the relationship is non-sexual or simply because that isn’t how I choose to depict it).

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