Jacey Bedford
Question: When did you first discover Jane Austen?
Answer: I was very late to the party. We had to do Northanger Abbey at school and though I didn't hate it as much as I loathed Dickens, I don't think it was taught very well. It took me a while to get over the way literature was presented in school. I didn't read Pride and Prejudice until I was in my early thirties. And then, of course, there were various movie or TV adaptations. It might have been the BBC version with Colin Firth and Jennifer Ehrle that reminded me to read it again. It seems to be shown pretty regularly, I did like the 2005 Matthew Macfayden film. There were some superb moments. The country dances were authentically sweaty and the Bennett farmyard suitably muddy. I loved the scene where Mum and the girls are lounging about and somebody sees Darcy approaching. The panicked flurry to tidy up both themselves and the room is manic and then by the time Darcy walks through the door they are all sitting primly as cool as cucumbers. Lovely.
Question: What do you think Jane Austen would think of her impact with so many literary offshoots, from parody to pastiche?
Answer: I think she'd be quietly amused by most of it, though probably a bit perplexed about the zombies.
Question: Where do you get your inspiration from?
Answer: The story ideas and the characters come from my own head, but the worldbuilding accretes as I dig deeper and deeper into the history of the period. I can't say that my inspiration comes from any one source. I have a mish-mash of images floating around in my brain that eventually gel into something tangible. When I'm researching, I tend to dip in and out of history books, and I spend a lot of time on Pinterest, collecting pictures of everything from costume and ships to pots and pans and to architecture. It all comes together gradually. The characters and the situation tend to come first and the worldbuilding second. But then the worldbuilding affects the story, too, so it's all interdependent. Even while I'm writing, I'm still researching to add authentic detail. You can't be sloppy on the history just because the story contains magic. It took me ages to research who commissioned the red coats for the British Army, and then to find out where they were made (and by whom). Goblin tailors in my book, but I needed to do the research to achieve verisimilitude, and write about a little Goblin sweatshop in London's East End.
Question: What makes the early 19th century mesh so well with magic?
Answer: It's a really interesting period: the Napoleonic Wars, George III's madness, the Industrial Revolution, bread riots, the age of sail, the echoes of the French Revolution which really put the wind up our politicians. They are frightened of the common people rising up, especially any of them imbued with magic. It's easy to slide magic into such turbulent times. For instance, in my Georgian trilogy (Winterwood, Silverwolf, and Rowankind) we eventually meet George III in the last book, and discover that his madness has a magical origin. Since no one really knows the actual cause (I believe Porphyria has been discounted, now) it's quite easy to offer a logical magical explanation.
Question: The world building and system of magic varies greatly in the regency fantasy genre, how did you go about creating yours?
Answer: I wish I could tell you that I had it all worked out in advance, but I didn't. It grew organically because my heroine, Ross Tremayne, a cross dressing privateer captain, ended up on the high seas, almost by accident, when she eloped with Will Tremayne in one of her father's ships, a lovely tops'l schooner. Will died in an accident so as the book opens Ross has been widowed for four years and she's captaining the ship in Will's stead, supported by a crew of barely reformed pirates. They have letters of marque from the Crown to hunt down and capture (or sink) vessels supplying the French. Ross has weather magic, but her natural element is the land rather than the ocean, and so she's pulled in two directions. Her land-magic develops when Ross first encounters the Green Man and the Lady of the Forests, and realises that her newly discovered younger brother, originally believed to be half-Rowankind, is really half-Fae. This lets me bring in elements of British folklore and magic: wolf shapechangers (don't call them werewolves, they hate that!), kelpies, hobs etc. Land magic. Though my books are set in 1800 - 1802 (the long regency) I don't do balls, and my characters are a million miles away from the ton. They are mostly dealing with problems while keeping clear of the law.
I use settings suggested by my historical research. I have Ross, Corwen and some of the crew being chased through a deserted off-season Vauxhall Gardens by a pack of Hellhounds conjured by the villain, Walsingham. I've used a lot of authentic detail for that (with the help of detailed contemporary maps) and then when they escape to their row-boat on the Thames, they have to run the currents under London Bridge - which was like going over a waterfall with a six-foot drop, as the 'starlings' protecting the bridge piers, narrowed the river channel. I really enjoyed writing that scene.
Question: If you had to choose between writing only period literature or only fantasy literature, which would win?
Answer: I'm not sure I could separate the two. It's true that Regency Romance is my guilty pleasure (I love a Bridgerton-type book) but I don't think I could write something that was just historical. I would end up bringing fantasy and/or adventure into it somewhere. And ditto, if I set out to write a fantasy, it would have elements of history in it, whether it was Georgian or generically medievaloid. I'm currently writing a YA fantasy book that takes place in the modern world and in the lands of Faerie. There are historical aspects to it. My most recent published book, The Amber Crown is set in an analogue of the Baltic States in the 1600s.
Question: Be honest, have you ever dressed up in Regency clothes just to pretend for a moment you are in the past?
Answer: No. I can pretend without the clothes There were some try-on costumes in the Jane Austen Museum in Bath when I went there for research, but they were so obviously easy-on reproductions that I hadn't the heart. I was hoping to have a go at getting into a genuine period dress with its ties and pins (not a real historical one, but one made to the same pattern at least) however these were elasticated so a bit disappointing. I take my hat off to the people who do proper costuming, using real historical patterns and ensuring all the detail is authentic. I can sew, but I don't have much time for it these days.
Biography:
Jacey Bedford is a British writer of science fiction and historical fantasy. She is published by DAW. Her Psi-Tech and Rowankind trilogies are out now. Her latest book, The Amber Crown, came out in January 2022. Her short stories have appeared in anthologies and magazines on both sides of the Atlantic, and have been translated into Estonian, Galician, Catalan and Polish. In another life she was a singer with vocal trio, Artisan, and once sang live on BBC Radio4 accompanied by the Doctor (Who?) playing spoons.
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