Interview with Lev Raphael, author of ROSEDALE IN LOVE

Today's featured Historical Novel Society Conference speaker is Lev Raphael, author of twenty-four books, among them ROSEDALE IN LOVE: A GILDED AGE NOVEL. The son of Holocaust survivors, Lev has published countless articles, stories and essays in a wide range of Jewish publications and has keynoted three international Holocaust conferences. He has been resident book reviewer for two NPR stations in Michigan and had his own public radio talk show. He currently blogs about books and culture for The Huffington Post. His novel ROSEDALE IN LOVE re-imagines Edith Wharton's HOUSE OF MIRTH from the viewpoint of one of Lily Barton's despised suitors. You can learn more about Lev Raphael and his work at his website. At the HNS Conference, Lev will share the wealth of his public-speaking experience in the Saturday morning session "How to do a Killer Reading."

1. What got you first interested in historical fiction? 

I've loved reading history since elementary school, especially books that had genealogies and maps about the ebb and flow of battles and kingdoms. Maybe also because I'm also a child of history myself in this way: both my parents were Holocaust survivors and I would never have been born had war not uprooted them from their homes and brought them together in a displaced persons camp.  Books about W.W. II and set during the war have fascinated me for a long time and eventually I will write my own.

2. How do you find the people and topics of your books? 

They always find me.  My mind is like an airport: planes are always circling, waiting to land (though there aren't long lines at Security and I can always keep my shoes on). I wish I had a clone to help me write. Or that I could type faster. 

3. Do you follow a specific writing and/or research process? 

Every book has its own genesis, demands, rhythm, pleasures and challenges.  If I tried imposing a system, it wouldn't feel natural; I let the book shape how I work on it. For instance, I've only done one page of my next novel, but I'm heading to Belgium next month to do site research before I write one more word. This time, I know being there is essential so I can soak up atmosphere, take photos and notes. 

4. For you, what is the line between fiction and fact? 

That's actually not a problem I worry about since I'm not writing journalism, though I have reviewed forThe Washington Post and many other newspapers, magazines, and NPR stations. 

5. Do you have an anecdote about a reading or fan interaction you'd like to share? 

I've read at the Library of Congress and lots of fascinating locations in my career, but nothing beat being invited to read from my Edith Wharton-inspired novel Rosedale in Love at a Wharton conference in Florence last summer.  It was a huge honor, and the venue for my reading was an amazing small Gothic church. Plus, I had a week in Florence. I felt blessed. 

6. Where do you feel historical fiction is headed as a genre? 

It's only going to get more and more popular as the interest in literary fiction continues to wane and genre fiction readers multiply.

7.  Is there an era/area that is your favorite to write about? How about to read?

I've written about the Gilded Age and am going to write about the Middle Ages, but I read anything that tells a good story in engaging prose.  Those first few pages are crucial to me: if I'm not hooked, I'll move on even if the book is getting praised by the whole world. That's probably a result of my years of reviewing. Before that, I'd slog through to the end even if I didn't like a book, but life is too short. 

8. What book was the most fun for you to write? 

Every one of my 24 books has been a joy to write, but that's because I'm not one of those writers who complain about how hard our lives are or how hard it is to find inspiration.  I even love revisions.  Picking a favorite, though, is easy: Rosedale in Love, because it rewrote Edith Wharton's The House of Mirth and I grew up in New York surrounded by The Gilded Age. My local public library was a Stanford White building. 

9. Can you tell us about your latest publication? 

My latest book is actually a guide for writers at all levels of their career: Writer's Block is Bunk. It looks at the realities of the writing life and offers advice most people don't get. 

10. Do you have a most interesting question or crazy anecdote related to your writing you would like to share? 

A character in my Nick Hoffman mystery series has a cabin in northern Michigan and even friends have asked me if they can borrow it, or even rent it!

Interview with author Teralyn Pilgrim

Teralyn Pilgrim is a historical novelist seeking representation for SACRED FIRE, a novel about a vestal virgin in ancient Rome who had to perform a miracle to escape execution. She is hard at work on a second novel, VOODOO QUEEN, about the infamous voodoo leader Marie Laveau, who ruled and terrified New Orleans throughout the nineteenth century. Teralyn blogs about the joys and challenges of writing fiction at A Writer's Journey. She will be participating on the panel "Depicting Religion in Historical Fiction" at the 2013 Historical Novel Society Conference in St. Petersburg, Florida, this June.

1. How do you find the people and topics of your books?

I don't go out looking for my topics; they find me. My ideas have come from college courses, vacation trips, word-of-mouth stories, and non-fiction books. If a writer is ever out of ideas, I recommend exploring as much of life as she can. Eventually, an aspect of life will jump out and ask to be made into a story.

2. Do you follow a specific writing and/or research process?

I'm still learning the best way to research, and of course the process is different for each book. I've only learned one hard and fast rule that everyone should follow: save EVERYTHING. I put every website I visit in Evernote, I have a folder on my Desktop for every image I see, and I own all my research books. I also include footnotes in my rough draft so I can remember where I get the information I used and easily find it again.

3. For you, what is the line between fiction and fact?

How much fact and how much fiction belongs in a novel depends on the type of book you're writing and what you want it to accomplish. If you're trying to write an accurate, true-to-life book that includes a works cited list, you darn well better get your facts right. If you want to write a romance or a mystery about people who never really lived, the story comes first. For me personally, history is more important than artistic license, but artistic license is necessary to make the history palatable.

4. What are your favorite reads? Favorite movies? Dominating influences?

My favorite modern books are POPE JOAN, MOTHER OF THE BELIEVERS, and PEONY IN LOVE. My favorite classics are JANE EYRE, LORD OF THE RINGS, and LES MISERABLES.

Rebuilt Ruins and Emptied Tombs: An Interview with Author C.W. Gornter

C.W. Gortner will be the featured speaker at the Saturday luncheon of the 2013 Historical Novel Society Conference, which will take place in St. Petersburg, Florida, on June 21-23. Gortner is the author of four historical novels, the most recent being THE QUEEN'S VOW, a novel about Isabella of Castile, published by Ballantine Books in 2012. THE TUDOR CONSPIRACY, Book 2 of his Elizabeth I Spymaster Chronicles from St. Martin's Press, hits the shelves on July 16. C.W. has been a frequent guest here at Writing the Renaissance. Today he addresses questions about his interests and his writing process.

1. What got you first interested in historical fiction?

I grew up in southern Spain, surrounded by history. Castles, battlefields, tombs in cathedrals: These were right outside my door. History was a part of my youth and it never intimidated me. I loved the sense that the past could permeate the present. I became interested in historical fiction when I read my first historical novel, MURDER MOST ROYAL by Jean Plaidy. It ignited my imagination; all of sudden the ghosts were clothed, the ruins rebuilt, the tombs emptied. I realized the past could be as exciting, as robust and real as the present, in the hands of a talented novelist. I was eleven years old and my life was never the same. To this day, I still have that battered edition of Ms Plaidy's book.

2. How do you find the people and topics of your books?

I'm usually attracted to the hidden history, the secret stories. The characters I choose may be famous, but they usually have a controversial legend that sets them apart. I'm most interested in people who did something extraordinary, whose became more than was expected, for better and for worse. I'm not that drawn to easy characters. Give me a bad girl or boy any day.

3. Do you follow a specific writing and/or research process?

I write every day except Sundays, which is when I catch up on my reading. For me, writing is like playing an instrument. I need to keep the muscles flexible and disciplined. I'm superstitious, too, that if I take too long a break, I may never want to go back. Writing can be demanding; it requires passion and perseverance, and a willingness to be alone a lot. I'm quite social, so I can be easily distracted if I don't stay focused. Writing daily helps keep me in that zone.

4. For you, what is the line between fiction and fact?

It often depends on the story. I've read plenty of popular history that would qualify as fiction. For example, does anyone actually believe Anne Boleyn had six fingers? But, as a general rule, for me facts are: X was born on this day. X did this. Fiction, on the other hand, involves unraveling motivations, thoughts, emotions. We can research cultural and social history, read journals and letters, when available, to get a sense of how people felt and how they perceived their era and lives, but to recreate their experiences so that readers can feel them, too: That is the art of fiction.

5. What book was the most fun for you to write?

The one I'm currently working on is always the most fun - and most challenging!

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You can learn more about C.W. Gortner and his books at his website. He also blogs at Historical Boys.

Interview with Donna Russo Morin

For the next few weeks, I'll be featuring interviews with some of the fabulous speakers slated to share their expertise at the Historical Novel Society Conference in Tampa, Florida, June 21-23. First up is Donna Russo Morin.

Donna Russo Morin is the author of four historical novels. "An adventurous quest in Renaissance Italy with undercurrents of the supernatural," her most recent release, THE KING'S AGENT (Kensington, 2012), earned a starred review from Publishers Weekly. Donna will be speaking on the conference panel "Sex in Historical Fiction: How to Make It Hot."

1. What got you first interested in historical fiction?

It really began with James Michener. My mother was reading him voraciously while I was in high school. I picked one up and became completely enraptured, captivated far beyond the books assigned in class. From there it went from one spectrum—Leon Uris—to the other—Rosalind Laker. When I found Diana Gabaldon’s OUTLANDER in the early ‘90s and her mingling of fictional characters with historic ones, I completely discovered my voice.

2. How do you find the people and topics of your books?

I am very lucky that ideas come to me with ease. The first book I ever wrote was a self-fulfilled wish…to be a Musketeer. The second came from a two minute news story on the glass makers of Venice. Now that I am fully ensconced in the Italian Renaissance…an era I can trace my own lineage back to…I am obsessed and bursting with stories longing to be told.

3. Do you follow a specific writing and/or research process?

I always start with solidifying my fictional plot. Then I research the historical events of the era I’m in ad nauseum. Once I feel I have done my due diligence in that regard (typically 6-8 months of work) I’ll begin to merge the two to fully flesh out the plot and outline. Then, it’s off to the races.

4. For you, what is the line between fiction and fact?

My main characters and their challenges are fiction within the rigid constructs of historical fact. The only time I’ve blurred the line, was in the case of time…bringing events closer together for a more tightly written narrative. BUT…I am a firm believer that if any such ‘blurring’ occurs, it is the duty of the author to make it clear in an Author’s Note.

5. Do you have an anecdote about a reading or fan interaction you'd like to share?

I was standing in a museum, intently studying a work of art I had just used in my last release, THE KING'S AGENT, when a young woman next to me started telling me about this book she had just read and how the author had used the painting, and, best of all, how much she loved the book. It was one of the best moments in my writing career, especially when she told me that she had only gone to the museum because of that book. It was a goose bump moment.

6. Is there an era/area that is your favorite to write about? How about to read?

I am firmly and utterly obsessed with Renaissance Italy, Florence to be exact. Not only am I a willing prisoner to the rebirth and the miraculous and wondrous changes that took place—astounding fodder for my muse and my pen—but it is a time I can trace my own lineage to. As a full, second generation Italian American, I am currently working on my Italian (dual) citizenship and hope to spend a few months of every year there (there will be a guest room!). As for reading, I am simply in love with my genre, though I do tend to stay away from periods that I feel have been overdone. 

7.What are your favorite reads? Favorite movies? Dominating influences?

Favorite Reads: All works by Alexandre Dumas, TRINITY by Leon Uris, TO DANCE WITH KINGS by Rosalind Laker, GONE WITH THE WIND by Margaret Mitchell. Stephen King and his ability to tell a complex story in a simple way and Diana Gabaldon’s perfect marriage of fact and fiction are, far and away, my most dominating influences. As for movies…not sure there’s enough time or space. I am a movie fanatic of all genres. Some of my top of list favorites are SHAKESPEARE IN LOVE; EVER AFTER; CRAZY, STUPID LOVE; LORD OF THE RINGS; anything Star Trek; LITTLE MISS SUNSHINE…the variety is evident I think.

8. Is there a writer, living or deceased, you would like to meet?

Those deceased would have to be Jane Austen and Margaret Mitchell. Among the living are Stephen King, J. K. Rowling, and Diana Gabaldon.

9. What book was the most fun for you to write?

It is most definitely THE KING'S AGENT. I combined true paranormal aspects found in Renaissance art with Dante’s DIVINE COMEDY (giving physical form to the allegory in the guise of challenges) as well as influences from my favorite video game, THE LEGEND OF ZELDA. It was a large aim of the book…to have fun. The books that came before were reflections of the extreme traumas and difficulties of my own life. When I reached THE KING'S AGENT...well, the girl just wanted to have some fun.

10. Can you tell us about your latest publication?

If I may be so bold, I would like to quote the starred review THE KING'S AGENT received from Publishers Weekly: "In return for acquiring—stealing if he must—great works of art for French King François I, the king’s royal art dealer, Battista della Palla, enjoys the king’s support, and the city of Florence enjoys his protection. When the king goes to war with Charles of Spain, he orders Battista to retrieve an ancient Greek relic that is said to “possess the strength [he needs] to reign victorious.” As Battista begins the hunt, he meets Aurelia, a beautiful, spirited noblewoman with a yen for travel and adventure, and his simple quest blooms into a mysterious journey across Italy, with Battista and Aurelia following in the footsteps of the relic’s Guardians and encountering challenges evocative of Dante’s Divine Comedy. Inevitably, the two fall in love, but a secret about Aurelia’s true identity threatens the mission. Morin (To Serve a King) skillfully blends historical fiction and fantasy in surprising ways. She draws effortlessly upon influences ranging from Dante to Raiders of the Lost Ark, and the authority of her presentation makes the world she’s created come alive. A wonderfully action-packed ride through the lush landscape of Renaissance Italy."

11. Do you have a most interesting question or crazy anecdote related to your writing you would like to share?

Well, for each book I've done some interesting physical research. For the first book, THE COURTIER'S SECRET, I learned how to fence. For THE SECRET OF THE GLASS—my second—I ‘tried’ to learn to blow glass. I learned how to shoot a bow and arrow for my third book, TO SERVE A KING, and now archery has become an entrenched hobby. And for THE KING'S AGENT, I learned how to dagger fight. It would seem my work has made me a bit dangerous.

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I'll definitely be adding Donna's books to my TBR pile. Be sure to check out Donna's website to learn more about her and her books--or better yet, come to the HNS Conference and meet her in person!

Interview with Nancy Bilyeau, author of THE CHALICE

Today I welcome Nancy Bilyeau, author of THE CHALICE, a Tudor suspense novel published last March by Touchstone. THE CHALICE recounts the continuing adventures of ex-novice Joanna Stafford, heroine of Bilyeau's debut novel, THE CROWN (2012). I reviewed THE CHALICE yesterday.

Nancy was kind enough to answer questions I sent her about THE CHALICE and the history behind the novel.

1. Can you describe the genesis of the novel? Did a specific object or historical event serve as a catalyst? How difficult was it to mold the plot to the framework of historical events?

THE CHALICE is a sequel to THE CROWN, my debut novel. The main character is Joanna Stafford, a Dominican novice pledged to Dartford priory just when Henry VIII crushed the monasteries: the late 1530s. At the end of THE CROWN, the priory is "surrendered" to the king in 1538. What I wanted to do in the second book is explore what would happen to a person after losing their way of life, how would they handle it emotionally. What kind of despair and anger would these displaced people feel, and what would they do about it? The specific events that the book molds around are the arrests in the Courtenay Conspiracy, the king's betrothal to Anne of Cleves, the Act of Six Articles and, in Flanders, the Revolt of Ghent. I enjoy incorporating real events into my novels. The only problem they cause is elongating the timeline at some points. A thriller should move quickly but when you're working with things that really happened you have to allow the proper amount of time.

2. What was it about the years 1538-1540 that grabbed your attention and sparked your imagination?

That's a tense, strange time in the reign of Henry VIII. Most people look at it as an in-between time: after the death of his third wife and leading up to marriage to his fourth, Anne of Cleves. Part of the action of THE CHALICE wraps around the arrival of Anne. And without giving too much away, this marriage is key to the plot. That marriage--and its failure--is well known. Less well known is that England was braced for war, for invasion by a combined army of Charles V and Francis I, egged on by the Pope who had excommunicated Henry VIII. This is what runs through the entire plot: the fear, the paranoia, of Henry. Joanna doesn't directly interact with the king in this book, but his actions ripple out toward her in many ways. She sees people she cares for die because of the king's fears.

3. Joanna Stafford is a woman with strong loyalties to her Catholic faith, her noble family, and her country, England--loyalties which often conflicted with each other and complicated her course of action. As you wrote, did any of Joanna's choice surprise you? Do you think any of them surprised her?

Joanna had to make many choices in the book that have to do with faith and love and loyalty and courage. Hard choices. I was often moved by what Joanna had to do in THE CHALICE, because it required sacrifices. In this novel she is tested and yes, she would be surprised herself at how she survives those tests.

4. The Holy Roman Emperor, Charles V, was as important a player on the European stage as his peers Henry VIII and Francis I, yet he has been largely neglected in historical fiction. Why do you think this is the case? What are your impressions of the man?

That is a good question! He was an enormously important person--he was in power during the birth of Protestantism, the exploration of the Americas, cataclysmic wars with France and the rising Muslim power. Yet in much historical fiction he's ignored. I wonder if it's because he's not a romantic figure compared to Henry VIII and Francis I, both handsome men with multiple wives and mistresses. Charles was a homely man who I think seemed morose to others. I actually have some sympathy for him because of the absolutely enormous, crushing burden of his empire and the sense I get that he hated it and that is why he "retired" at a certain point and had a few years of quiet, private life with his family. His family was fiercely loyal to him, in a way that you don't see in the English or French royal families. His sister Mary of Hungary, after her husband was killed in battle, basically worked for her brother for the rest of her life--she took on the extremely difficult job of Regent of the Netherlands. She represented his interests and never remarried, retiring from the regency when Charles V resigned his position of emperor. When she died, she left her brother all her possessions. Hard to imagine Mary or Margaret Tudor doing any of that for Henry.

5. What prompted you to include fantasy elements in THE CHALICE?

The mid-16th century was filled with mystical beliefs in prophecy and astrology and necromancy, and I researched those very deeply. I was surprised by how the beliefs co-existed with Christianity. Devout Catholics also had their astrological charts done--by their physicians! I think it wasn't until Protestants had advanced their beliefs, and gained strength, that some of the skepticism set in and there were efforts to stamp out "pagan" beliefs. For instance, the Puritans tried to do away with Halloween...but it was too popular!

6. What was your favorite scene to write? The most difficult?

I think my favorite scenes were when Sister Joanna and Brother Edmund find themselves in an empty Blackfriars monastery all night, and I have to admit that an execution on Tower Hill was something I've always wanted to write. The most difficult were in the first third, when Joanna was in London and getting more and more suspicious and worried because all is not what it seems. The revelations had to be made so slowly and carefully, but not too subtly either. It's a challenging balance.

7. The fates of several characters are left unresolved at the end--will there be a third book in the series?

It looks that way! There will be an announcement soon. 

8. Are there other eras or settings you would like to write about?

Oh yes, I am interested in the 18th century and drawn to it almost as much as I am to the Tudor era. I wrote a screenplay about Mary Wollstonecraft, who lived and wrote in the late 18th century. I have other ideas for this time period, too.

9. How does your training in magazine journalism help or hinder you in writing fiction?

It helps me with research but with the actual writing of the prose, it doesn't help or hinder. They are completely different skill sets, editing articles for a magazine and writing a novel. Far different uses of creativity. Except for the determination to use good spelling and grammar, perhaps. I always try to do that! Too many rigorous bosses shouting in my ear to ever let that go.

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Thank you for a marvelous interview, Nancy, to go with your wonderful novels!

You can learn more about Nancy and her work at her website.

Review: THE CHALICE by Nancy Bilyeau

Nancy Bilyeau's THE CHALICE (Touchstone, March 2013) offers an engrossing and original take on aspects of the Tudor era that historical fiction seldom explores. The novel presents an enticing blend of history, romance and page-turning suspense that invigorates the discussion of religious turmoil in England and provides an entertaining and convincing escape into an important yet often overlooked stretch of Henry's reign.

When Henry VIII closes religious houses across England, novice Joanna Stafford, daughter of an English nobleman and one of Katherine of Aragon's Spanish ladies-in-waiting, hopes to supplement her meagre pension by establishing a tapestry-weaving business. The day she lugs home the first piece of her new loom, her life changes--but not in any way she'd expected. Her cousin Henry Courtenay, a trusted relation of the king, and his wife Gertrude arrive to invite her to spend time with them in London. A high-ranking family loyal to the Catholic faith, the Courtenays secretly scheme to place the Princess Mary on the throne and restore the true faith in England. Joanna finds herself swept up in a plot targeting King Henry, a plot that hinges on Joanna herself. Years earlier, a seer who tried to prevent Henry VIII's divorce had declared Joanna to be "the one who would come after"--the one who, after hearing the entire prophecy as revealed by two additional seers, would set in motion events that would alter England's history. Joanna's involvement with Gertrude Courtenay, and through her, the Holy Roman Emperor Charles V of Spain, propels Joanna to embrace her fate and race to uncover the prophecy before Henry fathers the sons that will ensure the supremacy of the Reformed Faith in England forever.

THE CHALICE places the religious turmoil unleashed by Henry VIII in an international context, capturing the turbulence of a time when Henry seemed to waver in his religious convictions and his opponents nurtured high hopes that Charles V might set things right. The prominence of the Emperor and his representatives in THE CHALICE is a splendid addition to standard Tudor fare. Despite being one of the three preeminent monarchs of the Tudor era, Charles seldom features in historical fiction. Although he does not appear in person in THE CHALICE, his constant menace finds expression through the machinations and relentless persistence of his wily ambassador Eustace Chapuys, with whom Joanna forges a reluctant alliance. THE CHALICE dramatizes how Henry's decision to break with Rome upset the balance of power in Europe and not only placed England in danger of being invaded by Spain and France, but encouraged France to flirt openly with an Ottoman alliance. Joanna's involvement with Imperial agents in an international plot underscores how Henry changed not just the course of English history, but that of all Catholic Europe. I have been immersed in research about Charles V for my own novel, set in France during the same years as THE CHALICE (1538-40), and it is exciting to see another author evoke the complicated contours of this era.

Bilyeau balances this broad political focus with attention to the effects of Henry's actions on the lives of individual believers. The novel's principal characters all confront decisions that pit their personal beliefs against the will of the king. Powerful noblemen must choose between allegiance to their faith or to their anointed monarch; dispossessed nuns must betray their vows and marry in order to survive; defrocked monks consider violence in order to protect holy relics; servants must decide whether to protect or reveal the activities of their recusant employers. Joanna's personal conflicts are many and involve her heart as well as her head. Looming foremost is the question of whether to pursue the prophecy despite her aversion to such practices and what to do with the knowledge once she gains it. With courage and great personal sacrifice, Joanna follows a course of action that offers her Catholic brethren in England continued hope yet does not betray her principles. Convincing in her faith and endearing in her loyalties, Joanna is a heroine to admire. I look forward to following her on further adventures. In THE CHALICE, a stand-alone novel that may be read in conjunction with the author's debut, THE CROWN (2012), Bilyeau has crafted a deft novel that will appeal to readers of suspense as well historical enthusiasts looking for a unique take on a popular era.

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Come back tomorrow to read my interview with Nancy Bilyeau about THE CHALICE. To learn more about Nancy and her books, visit her website.

This review is part of the Historical Fiction Virtual Book Tour for THE CHALICE. To read the other reviews and interviews that are part of the tour, see the tour schedule. 

Sixteenth Century Quote of the Week

"The king's bed is always carried with him, when he [François I] hunts, and anon, after that the deer is killed, he repairs to some house near at hand, where the same is set up, and there reposes himself three or four hours, and against his return there is provided for him a supper by some nobleman...whereupon a great number of ladies and gentlewomen used to be in his company be sent for, and there he passes his time until ten or eleven o'clock."

Sir Anthony Browne, after witnessing a royal hunt near Amiens in 1527

Quoted in The French Renaissance Court by Robert Knecht, p. 80

Natural Selection among the Hapsburgs

Philip II of Spain exhibited
the signature Hapsburg
pointed jaw.

Geneticists at a Spanish university claim that the Spanish Hapsburgs evolved to mute the effects of inbreeding. Inbred marriages, such as those between between first cousins or between uncles and nieces, were common in the Hapsburg pedigree and multiplied over time for political and dynastic reasons. Such marriages increased the odds that children would inherit two copies of a recessive mutation that causes disease or disability. Indeed, inbreeding was the probable cause for the high rates of disease in the Spanish royal family.

However,  natural selection might have played a role in weeding out those individuals who bore the worst disabilities so that mutations would not be passed on to subsequent generations. The scientists theorized that natural selection would operate through early death. If natural selection was indeed purging the family of harmful mutations, then early deaths would become less frequent over time. The scientists studied 4000 individuals across more than 20 generations of Hapsburgs and found evidence that there were substantially more deaths among the family's children between 1450 and 1600 than between 1600 and 1800. However, infant mortality rose over time, leading the geneticists to posit differences between the effects of very harmful mutations, which were eventually purged by natural selection, and mutations that caused problems only some of the time.

Other geneticists disagree with the researchers' conclusions. You can read the article here.

Crucifixion

Léonard Limousin (c. 1504 - c. 1577)

French court painter under François I and Henri II

Crucifixion (1553)

Enamel on copper

(Note François's portrait in lower left, his motto lower center, and monograms around the central oval) 

Book Sale Bargains

Book sale day at the local library, and even though my bookshelves are overflowing with unread books, I couldn't resist lugging home a few more. I found five historical novels I've long wanted to read:

Mary by Janis Cooke Newman (2006). The story of the wife of Abraham Lincoln, narrated by herself from the insane asylum where she ended her life.

Loving Frank by Nancy Horan (2007). The story of Mamah Borthwicke Cheney, who carried on a clandestine love affair with Frank Lloyd Wright.

The Day the Falls Stood Still by Cathy Marie Buchanan (2009). A historical love story that entwines the trials of the couple with the history of the exploitation of Niagara Falls. I'm currently enjoying Buchanan's The Painted Girls and look forward to reading more of her work. This was her debut novel.

The Enchantress of Florence by Salman Rushdie (2008). West meets East during the Renaissance as a European appears at the court of the Mughal emperor, claiming to be a long-lost relative born of an exiled Indian princess and a Florentine man.

The Widow of the South by Robert Hicks (2005). A novel that recreates the life of Carrie McGavock, whose Tennessee home became a Confederate hospital and later a massive cemetery where she grieved the soldiers lost in the war.

So many good books, so little time! Have you read any of these? What did you think?

Readers, Writers, and History Buffs: Join Us at the 2013 Historical Novel Society Conference!

Let the countdown commence! 107 days until the 2013 Historical Novel Society Conference kicks off at the beautiful Renaissance Vinoy Hotel in sunny St. Peterburg, Florida.

I don't get out much. I'll admit it. I'm a writer, right? A writer who's paying two college tuitions, parochial school tuition, California sales tax, etc., etc. But I wouldn't miss this bi-annual North American conference for anything, even if I had eat to franks and beans every day for a year in order to get there. If you're a writer or reader of historical fiction, this three-day gathering (remarkably low-priced for all that it includes) is worth every penny. You'll come home with a suitcase full of books, a head full of knowledge, an abundance of eagerness, a roster of new friends and colleagues--and maybe even an agent or editor request to submit your novel!

The HNS Conference is unique in that it draws, and caters to, both readers and writers of historical fiction. Readers adore the conference because they get to mingle with some of the biggest names in historical fiction today--Diana Gabaldon, Margaret George, Susan Vreeland, Michelle Moran, C.W. Gortner, among others, have all attended previous conferences. And when I say "mingle," I mean "chat with," "stand next to," "rub elbows with," "stutter in front of," "spill drinks on," "photograph"--for the authors mix freely with the attendees the entire weekend. They are more than happy to discuss the weather, laugh at your favorite joke and look at photos of your dog, as well as answer questions and sign books. You arrive at the conference a bit star-struck; by the time you leave, you realize that authors are regular people, too, and often incredibly gracious ones at that.

Benefits to writers of historical fiction are too numerous to count, but include:

• Timely and engaging content. The conference offers a wide array of workshops and panel discussions aimed at helping authors become better writers, understand the genre, and navigate the challenging world of publishing. Three sessions run concurrently throughout the day Saturday and on Sunday morning. The difficulty lies in deciding which of these wonderful sessions to attend! Doors always remain open so attendees can slip in and out of sessions that overlap. Click for this year's session schedule.
• Agent and editor contacts. Each attendee may request a free pitch session--a private, ten-minute interview--with two of the twelve agents and editors in attendance. These sessions often lead to invitations to submit partial or full manuscripts for consideration after the conference. If an author does not yet have material ready to pitch, opportunities exist to chat with agents at group events to find out what they're interested in, as well as to get a feel for what it would be like to work with them. Click for this year's list of agents and editors.
• Increased confidence. Being around other writers, from complete novices to best-selling authors, can be a huge confidence builder. Not in the sense of comparing your skills or sales numbers to theirs, but in realizing that every author starts out from the same spot and through persistence and hard work realizes her dreams. Learning how one writer got an agent/multi-book contract/huge publicity budget on her first try proves it can happen, lighting the flame of hope; discovering that another author had five rejected novels in her drawer before she made a sale inspires the courage to continue, despite setbacks. Hearing these different stories and seeing the various paths to publication is both encouraging and reassuring. 
• Inspiration. Historical fiction authors love to discuss history and share facts they have unearthed during their research. In this seething broth of historical lore, seasoned by stimulating discussion and chance acquaintance, new ideas continually bob to the surface. Browsing the conference bookstore will reveal unfamiliar settings, events and eras that might tempt you to future exploration; a comment from a fellow participant at breakfast could spark an idea for a mystery series; hashing out an tangled subplot with a colleague over a glass of wine might lead to the breakthrough you've been waiting for. Listening to other writers describe their work habits and methods can provide you the means and enthusiasm to revitalize your own.
• Connections. Networking, in the best sense of the term, is the primary value of the conference. In a group of three hundred people who share the same passion for history and books, it is easy to make new friends and find knowledgeable new colleagues. Name tags list participants' specialties and preferred eras, facilitating the discovery of other Tudormaniacs or classical buffs! Getting to know other authors, published or not, can lead to blurbs for future novels, introductions to editors or agents, guest posts on blogs, critique partner pairings and the formation of writing groups. But don't be mercenary about it--these connections can lead to friendships that enrich your life beyond the realm of publishing. You'll have wonderful memories to share and new adventures to look forward to as you support your writing friends and become part of each other's lives.

I've attended four of the five North American Conferences and have had a wonderful experience every time. My first conference, in Albany, NY, proved to me that hey, I could do this writing thing; the second, in Schaumberg, IL, allowed me to meet with my fabulous agent, Stephanie Cabot, in person; at my third conference, in San Diego, CA, I clicked with an amazing group of fellow writers who have not only formed a critique group but have grown to become the dearest of friends. Who knows what the 2013 conference might bring?

This year I will be leading a panel discussion entitled "Virtual Salon: The Historical Fiction Blog." Bloggers extraordinaire Heather Webb, Amy Bruno, Deborah Swift, and Heather Rieseck will join me to share tips on creating and maintaining a successful blog and to discuss the future of historical fiction blogging. We hope you'll join us--if not at the discussion, then at the bar, the banquet, the bookshop, or the corridor! Introduce yourself and join the fun--you'll be so glad you did, and we will, too.

Register for the 2013 conference today!

If you're still not sold, you can read my recap of the 2009 conference here.

For other points of view, check the blogs of my writing group partners: Susan Spann, Marci Jefferson, Amanda Orr,  and Heather Webb.

Sixteenth Century Quote of the Week

photo credit

Never was there a greater need to aid poets than now.

Marguerite de Navarre (1492-1549)

Queen, religious reformer, writer

Letter to Anne de Montmorency, 1536

Silk and Spectacles in the Place des Vosges

photo: AINo

Place des Vosges, the centerpiece of the Marais district on the Right Bank of the Seine, was one of the few architectural undertakings of King Henri IV, who ascended to the throne in 1589 and eventually brought an end to France's religious wars. Originally named Place Royale, the square was intended to be a revenue-producing site, dedicated to the manufacture of silks and other textiles. The four-story red brick buildings that line the square were designed to house factories on the second and third floors. The ground floor shops, accessible through sheltered arcades, would sell the goods manufactured upstairs; factory workers and shop staff could live in dormitories and apartments on the fourth floors, under the eaves.

In tandem with its commercial purpose, Place Royale would provide Paris the public setting it lacked for the grand processions and elaborate spectacles that marked important events like royal births and marriages. Accordingly, the square was paved with cobblestones, and two pavilions were built for the royals' viewing pleasure. The Pavilion du Roi,

photo: Bruno befreetv

marked with Henri's monogram,

photo: Bruno befreetv

was erected on the north side of the square, and the Pavilion de la Reine anchored the south.

Construction, begun in 1605, proceeded to a rapid conclusion by 1612. However, the notion that the buildings would house factories died along with the king when Henri was assassinated in 1610. His wife Marie de Médici, regent to his young son Louis XIII, abandoned the manufacturing project and allowed the elegant buildings to be subdivided into residences for the wealthy. Later in the century, an equestrian statue of Louis XIII was erected in the center of the square.

This statue remained in place for 150 years, until it was destroyed during the Revolution--along with the square's royalist name. The new moniker, Place des Vosges, commemorated the first district that raised a volunteer army to repel the Prussian invasion. Fifteen years after the restoration of the monarchy in 1814, a new statue of Louis XIII--the one presently gracing the square--was installed.

photo: Mbzt

Place Royale was built on the site of the Hôtel des Tournelles, a royal residence dating back to the fourteenth century. The residence comprised a collection of buildings and pleasure gardens spread over a twenty acre estate. François I's mother, Louise de Savoie, had lived there, and his mistress Anne de Pisseleu d'Heilly later used it as her Parisian residence. Henri II, François's son and heir, held his coronation there in 1547 and granted its use to his mistress, Diane de Poitiers. It was at the Hôtel des Tournelles in 1559 that Henri II died after a horrific jousting accident. His widow, Catherine de Médici, had the buildings demolished several years after his death. The space was used as a military training ground for many years until Henri IV dedicated it to his innovative project.

Hotel des Tournelles and surrounding area around 1550. Published map of Paris.

[The information about Place Royale's commercial origins comes from Alex Karmel's delightful book,  A Corner in the Marais: Memoir of a Paris Neighborhood (1998).]

Where's the Love? Blog Hop

Love is in the air--and on the pages. Heather Webb of Between the Sheets is hosting a Valentine's Day blog hop. Follow the trail and read love scenes from participants' novels. Here's a contribution from my work-in-progress:

photo: Joseph Kranak

They walked a bit in silence, the unlit windows of the near-empty château withholding both succor and judgment. Their footsteps echoed on the cobbles, rousting pigeons from the eaves and sending mice scurrying to the safety of shadows. Far off, an owl hooted, hungered by the croaking of the pond’s countless frogs. The sweetness of the honeyed wine lingered on Catherine’s tongue, stilling each feeble tremor of caution. When the duke changed direction and led her into the cour de la fontaine, she did not resist.

They stood at the railing and gazed out upon the lake. The moonlight lay like early frost upon the rippled surface. The reedy bank below them exhaled a rich breath of damp earth, while above them the stars winked in complicity.

“A gift from heaven,” Orléans murmured. 

The view, the moment, the day? “Indeed it is, my lord.”

He cocked a brow. “I don’t supposed you’d call me Charles?”

She shook her head. “I dare not presume.” 

Disappointment flashed in his eyes, only to be doused by her murmured disclaimer. “Not aloud, that is.”

He tipped her chin, raising her gaze to meet his. “Then I shall have to imagine the whisperings of your heart.”

"They cannot be difficult to discern.”

He bent then and kissed her, his breath sweeter than the sugared plums, his lips softer than the velvet sleeve beneath her hand. Though they were of one age, she knew nothing of love. Breathless with delight, she closed her eyes and surrendered to the wonder of his exploration.

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Comments and critique welcome. In fact, commenters will be entered into Heather's drawing for FREE CHOCOLATE! Be sure to visit Heather's blog and follow the links to other scenes. Spread the love!

Happy Valentine's Day!

Review: SHADOW ON THE CROWN by Patricia Bracewell

I read an advanced copy of Patricia Bracewell's SHADOW ON THE CROWN (Viking) several months ago and loved it so much I included it in my Best Reads of 2012. I'm happy to say I appreciated it even more upon second reading! Here is my review.

Women, even queens, figure little in the annals of the past, and often it takes a novelist to rescue them from the shadows. Emma of Normandy may have commissioned a book about her life in 1040, but that account ignores her fifteen-year marriage to Athelred II, the king who brought her to England's shores. In SHADOW ON THE CROWN, the first volume of a proposed trilogy about Emma, Patricia Bracewell rectifies this omission with consummate skill, imagining Emma's first marriage with a verve and flair that assure the queen a lasting escape from obscurity.

In AD 1002, Athelred takes foreign-born Emma to wife in order to forge an alliance with her brother Richard, duke of Normandy, against the Danish Vikings, whose raids pose a perpetual threat to England's prosperity. In a moment of pique against his council, Athelred accepts Richard's stipulation that Emma be crowned queen and not simply consort, thereby giving any son of hers precedence over the seven sons of his uncrowned first wife. Emma quickly learns that she will secure her position only by producing a son, a task that proves increasingly difficult once the king, regretting his hasty decision, shuns her bed for that of her English rival. 

Far from home with few retainers, Emma finds herself mistrusted by the English nobles, resented by Athelred's first family, taunted by the woman who hopes to unseat her, and spurned by the king who fears granting her any further power over him. Strengthened by her mother's admonition to show no fear, Emma weathers these struggles with admirable fortitude and grace. Yet Emma's mother never taught her how to steel her heart against love, and the unbidden passion that arises between Emma and a member of the King's household threatens to destroy everything she has struggled to build. When the Danes attack England through the treachery of the King's enemies, Emma becomes both target and scapegoat and must scrabble to retain her throne and her heart.

Bracewell constructs her story around the sequence of events recorded in the Anglo-Saxon Chronicle, filling in the gaps with vividly imagined, historically plausible conjecture. The story unfolds from the viewpoints of four well-developed, psychologically convincing characters: weary King Athelred, mistrustful of all, haunted to the brink of madness by the specter of his murdered half-brother; Emma, courageous and compassionate, navigating the dangers of a foreign court armed with nothing but her own inner strength; impetuous Athelstan, Athelred's eldest son, who yearns for his father's approval even as he seeks to distance himself from his disastrous policies; and Elgiva, vain and self-centered, ever scheming to snare a king and escape the abusive domination of her father and brother. The point-of-view shifts fluidly yet cleanly between these four characters, often several times within a single chapter, providing a kaleidoscopic and thoroughly engaging view of events and emphasizing the interconnectedness of personal and political aims. 

Enabled by her meticulous research, Bracewell recreates the stark beauty and pervasive brutality of the Anglo-Saxon world. She respects the realities of the era, not the sensibilities of the modern reader. Emma's England is a pagan place, where official Christianity has yet to discredit sway of seers and ease the grip of prophecy. It is a savage place, where kings slay innocents to protect their interests and invaders pillage and rape and kill without qualm. It is a masculine place, where men exploit women for their beauty or their wombs and trade them like pawns on the chessboard of dynasties. Yet it is also a place where love and loyalty and honor flourish, a place where, despite all the obstacles arrayed against her, a determined woman like Emma can use her gifts of mind and body and spirit to carve a name for herself and a future for her children. It was, in sum, a fascinating world I was loathe to quit and to which I look forward to returning. Bracewell's enthusiasm for Emma and her world shines through every beautifully wrought sentence of this masterful debut.

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A few weeks ago, Patricia answered questions about her research and journey to publication in this insightful interview. You can learn more about the author at her website; be sure to check out her blog. You can find SHADOW ON THE CROWN at major booksellers and independent bookstores, or order online from your preferred vendor.