The Masquerade Ball

Masquerades are a wonderful tool for historical romance authors to use. They invariably add an air of mystery to the story, allowing the characters to go incognito. Identities can be mistaken as a result - perhaps a rake kisses the wrong woman - or a debutante may engage in activities that would be denied her under normal circumstances, safely assured that no-one will know who she is. There is certainly an element of scandal attached, and if there's one thing historical romance readers love, it's the threat of scandal and the implication it brings with it.
In my most recent novel, His Scandalous Kiss, the story begins at a masquerade ball inspired by the Venetian Carnivale, a traditional festival that ends the celebration of Lent, forty days before Easter. It has become world famous for its elaborate masks and costumes and originally inspired the masquerade balls that became so popular throughout Europe during the 18th and 19th centuries.
Historically, the Venetian Carnivale began in 1162 to honor the victory of the Serenissima Repubblica against the  Patriarch of Aquileia. The festival became official during the Renaissance, increasing in popularity during the seventeenth century as it encouraged licence and pleasure. But it was outlawed by the King of Austria in 1797 and the use of masks to conceal ones identity became strictly forbidden until the practice gradually resurfaced during the nineteenth century, though only at private parties.
In fact, it wasn't until 1979 that the Italian government decided to bring back the traditional carnivale in an effort to bring history and culture back to Venice. The production of masks began again - there are several different styles, including the Bauta mask worn by Richard Heartly and the Columbina mask chosen by Mary Bourneville in His Scandalous Kiss. 

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Masquerade

Historically, masquerade balls began as an extension of the Carnival – a festive season taking place immediately before Lent.  Traditionally, according to the Christian calendar, it was a time marked for fasting and devout behavior, during which no parties or celebrations were held.  Consequently, in the days leading up to Lent, all rich food and drink were disposed of beforehand as part of a giant party involving the whole community. During the 16^th Century, this celebration evolved into public costumed festivities in Italy, particularly in Venice, where dances including masks were held for the upper classes. This practice however, was outlawed in 1779 during the King of Austria’s rule when the use of masks was completely forbidden. There were brief resurgences during the 19^th Century, but it didn’t become a tradition in Venice again until it was reintroduced in 1979. Now, roughly 3 million people visit the festival each year, the most prominent event being the contest for the most beautiful mask which is held on the last weekend and judged by a panel consisting of prominent costume and fashion designers.

Masquerades were not limited to Italy though. During the early 18^th Century, a Swiss count by the name of Johan Jacob Heidegger, is credited for bringing not only Venetian fashion,  but the semi-public masquerade ball to London where it made its first appearance at the Haymarket Opera House and later at pleasure gardens like Vauxhall where masked characters in fancy dress would mingle with the crowds. These events soon became reputable for unseemly behavior, unescorted women and assignations (oh my…). 

Masquerades have also been the center for political intrigue. In fact, Gustav III of Sweden was shot in the back during such an event at the Royal Opera House in 1792, and though he did survive the incident for several days, the wound eventually became infected and he died thirteen days later, his last words reportedly being, “I feel sleepy. A few moments rest would do me good.” Famously, Eugene Scribe and Daniel Auber wrote an opera about it named Gustav III, as did Giusepe Verdi, though his version was altered by censorship and named Un ballo in maschera (A Masked Ball).

During the 1770’s fashionable Londoners were invited to Carlisle House, in Soho Square, to attend masquerade balls hosted by Teresa Cornley. She was a soprano opera singer born in Venice whose numerous lovers included Cassanova, the father of Teresa’s daughter. Teresa rented the mansion for £180 a year and refurbished it with opulent furnishings. The British novelist Frances Burney wrote in 1970: The magnificence of the rooms, splendor of the illuminations and embellishments, and the brilliant appearance of the company exceeded anything I ever before saw.

The perfect setting, one would think, for a masquerade ball =)

Recently, the most notable masquerade ball was held by the multi-millionaire, Carlos de Beistegui at the Palazzo Labia in Venice in 1951. The guest list included Orson Welles, Barbara Hutton, Christian Dior and Salvador Dali (who by the way designed each other’s costumes).

The intrigue involved in guests deliberately hiding their appearances, the game of guessing who’s who, and the elaborate costumes that go with it, are elements made to lure and entice. After all, most of us are curious by nature and enjoy uncovering that which is hidden.

Belle of the (Kingsborough) Ball: Sophie Barnes Waltzes into Print | RT Book Reviews

Belle of the (Kingsborough) Ball: Sophie Barnes Waltzes into Print

AS SEEN ON RT BOOK REVIEWS, AUGUST 29, 2013 | PERMALINK

I recently had the pleasure of visiting RT Book Reviews for a lovely chat with my editor, Erika Tsang. Here's what we had to say to each other:
 

Erika: I’m delighted to introduce everyone to Sophie Barnes, one of Avon’s rising stars. How does it feel, Sophie, to be a multi-platform author?

Sophie: I’m still waiting for it to sink in. Having had one of my Impulse books, How Miss Rutherford Got Her Groove Back, available at Target, I know how wonderful it is to walk into a store and find your book there on the shelf. I’m all for digital, but being fond of paper books, this move has really meant a lot to me. It’s exciting to know that my books will be widely available to readers both digitally and traditionally.

Erika: The Trouble With Being a Duke started out as an idea for a novella for an anthology. How did it become the start of a trilogy instead?

Sophie: Well, after submitting my proposal for the anthology, I received a phone call from my previous editor inquiring if I’d be interested in turning it into a three-part series for print. My answer was, “Absolutely!” Of course, I had to expand on my plot in order to do this, but the idea of using the Kingsborough Ball as the starting point for each book was an intriguing one. The Trouble With Being A Duke is the story that stays true to my original plan for the novella. For the sequels, new characters were invented, and since I wanted to avoid too many plot overlaps between the three books, I decided that this would be easier to achieve if the heroes and heroines were not related to each other. Instead, they’re friends and acquaintances who are tied to each other by secondary characters and by the Kingsborough Ball shooting, at which they are all present.

Erika: Some writers think publishing with a digital-first imprint is different than a traditional imprint. What do you think? Are there differences? What hasn’t changed?

Sophie: The most tangible difference is the ‘bookstore element,’ since I’m hoping to attract those readers who don’t buy their books online. But even with Impulse, it’s not all digital like some might think, it’s print on demand. As far as the writing and publicity goes however, you’re absolutely right: there’s very little difference. I’m working with the same incredible team now as I was before and I could not be happier. My work requirement is still the same of course, although it doesn’t really feel like work at all considering how much I enjoy it.

Erika: Is there anything you’d like to add for aspiring writers?

Sophie: I think it’s important to believe in yourself and your ability to get published, whether digitally or traditionally. And don’t dismiss the digital opportunities for they might lead to print, if that’s what you’re hoping for. In my opinion, it’s best to get your foot in the door as soon as possible. Once that’s done, you can set a new goal for yourself. However, it is hard work — something most people talk about doing but never actually accomplish. So if you’ve actually finished a manuscript, well done! Continue to work at the craft — there’s always room for improvement. After all, writing is a continuous learning experience, so don’t be overly protective of your work, but listen to the advice you receive along the way — changing a scene or two may just be the key to getting published.

Cover Reveal - THE SCANDAL IN KISSING AN HEIR

I have to say that I am so impressed by the talent at Avon - I could just sit and look at this cover all day. How amazing it is that it's actually on the front of one of my books!!! I couldn't be happier =)