Been Searching for You Awarded the Indie B.R.A.G. Medallion

I’m proud to announce that Been Searching for You has been awarded the Indie B.R.A.G. Medallion for excellence in independent fiction.

I have to share this feedback that came along with the news because it’s exactly what every writer wants to hear:

“I have read a number of books in the women’s Lit/Romance genre and found this book exceptionally fresh. The main character, Annabeth, was an extremely real, believable character involved in the kind of real life dilemma that I could easily relate to…I would most certainly read other books by this author and others in this series. I am extremely grateful for the chance to read and comment on this book.”

I guess that means I should get going on the novella and four other books in this series, eh?

Camelot’s Queen and Madame Presidentess also have earned the B.R.A.G. medallion.

The B.R.A.G. medallion is one of a handful of honors that attempts to distinguish the best of independently  published books in an effort to help readers weed through the glut of books and showcase the professionalism and excellence of certain works. It differs from programs like Library Journal’s SELF-e program in that it is not run by a particular organization within the publishing field, but rather by readers.

I’m Giving Away a Box of Royalty-Themed Romance Novels!

Daughter of Destiny is part of this month’s Ever After Box, and I’m celebrating by giving one away!

July is all about kings and queens, princes and princesses. Give yourself the ROYAL treatment with great romantic reads featuring royalty past and present along with themed gifts that will make you feel like queen (or king) for a day. This month features books and goodies from Vanessa Kelly, Jennifer Faye, Gwen Hayes, me, and more.

You can enter just by commenting to let me know you are interested. I’m taking entries through end of day Tuesday, July 18. Then I will use a randomizer to pick a winner and will announce it here. If you win, I’ll send you the promo code, which is good through July 31.

Good luck and thanks for your support!

PS – You can also buy this month’s Ever After Box here. And if you still haven’t purchased Daughter of Destiny, it will be on sale for $0.99 July 21-25 to celebrate the book having an international BookBub ad on July 24!

I’m in the July/August Issue of Ind’tale Magazine

Just wanted to let everyone know I’m all over the July/August issue of Ind’tale Magazine.

  1. I have an article on how to do your own writing retreat. (p. 38-40)
  2. Daughter of Destiny (p. 132) and Been Searching for You‘s (p. 133) audiobooks are reviewed.
  3. I have an ad in there as well. (p. 41)

Happy reading!

 

Reflections on the Historical Novel Society Conference

Before I begin, I just found a cache of 65 comments in the trash of my website. Thanks for that, web site. I’m so sorry to have missed them. So if didn’t respond, I wasn’t being rude; I just didn’t know they were there. I have responded to all of them now. 

Also, I completely missed my blogiversary. This little ol’ blog turned six on June 16.

And now, on to our main topic…

At the end of June, I had the pleasure of attending the Historical Novel Society conference in Portland Oregon. It was hands-down the best, most fun conference I’ve ever been to. From the second I stepped into the hotel, I saw people I knew or who knew me, and it felt like a homecoming. These truly are my people. It was humbling and immensely gratifying to have so many people approach me, saying they loved my books and/or had seen me speak somewhere and learned something. I have to say that for the first time I felt like, maybe not a celebrity, but a rising star. I was certainly encouraged to continue on my journey as a historical fiction author!

I have to say I was thrilled by the diversity in the program offerings. In addition to panels on craft and dedicated to certain time periods, there were panels on everything from gender fluidity in Shakespeare’s England and race/minority viewpoints in historical fiction to LBGT characters in history and including women’s stories in history. It was encouraging in an increasingly polarized culture to see that within the Society, authors are talking about all forms of inclusiveness. On a similar note, there were workshops and koffee klatches for both traditional and indie authors and both forms of publishing (as well as being a hybrid author) were talked about on panels. Here again, I took comfort from the open-mindedness I experienced.

Honestly, there were so many great choices, it was often hard to decide which workshop to attend. (Note to HNS: Please bring back the recording of sessions. I would buy every single one.) Of the ones I attended (that I wasn’t on), the one I enjoyed the most were Writing in Multiple Genres, which reaffirmed that you can and perhaps should write in multiple areas, especially if you can make your fiction and non-fiction relate (which mine do, whew!)

From Bustles to Suffragettes panel

I was on two panels and lead a packed koffee klatch. The first panel was “From Bustles to Suffragettes: Writing Victorian Era & Gilded Age Fiction” with Stephanie Carroll, Leanna Renee Hieber, Amanda McCabe (Laurel McKee) and moderator Susan McDuffie. I had corresponded with these ladies online but had never met most of them until the conference. Stephanie and I were roommates at the conference (we met at the 2015 conference in Denver) and Leanna quickly became my new favorite person. (When you share a love of Victoria Woodhull and outspoken Victorian women, I guess this is bound to happen!) We certainly shared a feministic vibe and were two of the more passionate panelists in our answers. We all worked really well together and I’m very glad to have met all these ladies.

Putting the Her in History panel. Photo by Jessica Knauss.

Next was “Putting the ‘Her’ in History” with Patricia Bracewell, Rebecca Kanner, Mary Sharratt, and moderator Stephanie Lehmann. I was somehow magically added to this one a few months ago and I’m so glad it happened. First of all, I love Patricia Bracewell and Mary Sharatt as authors. Okay, I love Patricia Bracewell in every respect. I like to think of her as one of my writing idols. Needless to say, I was humbled and thrilled to be on this panel. Again, we were a group of well-spoken, intelligent women with no shortage of opinions and more than enough moxie to voice them. As Patricia Bracewell wrote in her blog post reflecting on the conference,”I can only tell you that my fellow panelists were passionate and eloquent about the roles of women throughout history, about the definition of POWER, and the difficulties that historical novelists face in bringing all-but-forgotten women to life.” We must have gotten rather feministic without realizing it, because when the panel started, there were four or five men in the audience; by the time it was over, there were none left. Oops. Sorry guys. We really meant no disrespect. But our message was received. I’ve seen the panel called the best of the conference on several wrap-up blogs like this one and Jessica Knauss said she thought we “had possibly the best energy of any of the panels.”

My koffee klatch was an “ask me anything” style open forum on being an indie author. About 25 people showed up and it was a rapid-fire hour. I barely stopped talking to catch my breath the whole time. Luckily, there were a few other experienced indie authors in the room (hi Lars!) so when I didn’t know the answer (like on KDP select, for example) they were able to fill in for me. Several people told me they really enjoyed it and learned a lot, so I can’t ask for more than that!

Lookie! I got to meet Geraldine Brooks!

The guests of honor, Pulitzer Prize-winner Geraldine Brooks (March, People of the Book, Caleb’s Crossing, The Golden Chord, Year of Wonders) and David Ebershoff (The Danish Girl, The 19th Wife, Pasadena). I have been a huge fan of Geraldine Brooks’ writing for years, so it was a dream come true to get to hear her speak. I love that she said she “looks for the stories that are too crazy to be believed” as the basis for her fiction. Finding those is one of my favorite parts of research (Victoria’s family, anyone?) and even if readers don’t believe them, they are things that need to be told. A woman after my own heart, Geraldine gave my favorite quote from the whole event when reflecting on her time and experiences as a war correspondent in the Middle East: “In societies where women are publicly silenced, they find ways to wield private power.”

I had never heard of David before he spoke and I wasn’t expecting to be interested in, much less bowled over by, his speech. But I was captivated. He spoke so eloquently of the life of Lili Elbe, a pioneer in the transgender movement, who was the inspiration for his book The Danish Girl. His speech helped me understand transgender issues a little better and I actually teared up when he talked about Paramount quietly replacing the long-lost headstone on Lili’s grave.

Hooch Through History.

And what would a conference be without extra-circular activities? The first was Hooch Through History, a multi-flight alcohol tasting event that was accompanied by a well-researched presentation about what drinks were popular at different times in history and why. We had mead (which I’ve had before and find way too sweet), mulled wine (which I am very familiar with due to my German/Austrian heritage -YUM!), two kinds of gin (the first, which was an older type was kind of okay, but the second tasted like pine trees), absinthe (which tastes and smells like black licorice – all  kinds of wrong) and a bellini (which was my favorite drink of the night). I knew some of the history from my own research, but it was fun to learn more and taste with my friends. It was a unanimous opinion in the sold-out room that this should be an annual event.

Stephanie Carroll and I at the masked ball.

On the final night of the conference there was Hellfire at HNS, the first ever after party. It was so much much! It was a masquerade ball, and even though they gave out free domino masks, I bought a fancy bejeweled mask to wear, as did a few other people. You could choose from two activities: learning Regency dance or learning to play whist. I had major blisters on my feet from the stupid shoes I wore the night before, so dancing was out, but luckily I love playing cards. I can’t say I fully understand whist yet, but I think I have the basics down and my partner and I won, so there is that. I had a really, really good time and I hope they do something like this again in 2019.

My new discovery from this conference is author Kate Forsyth (Bitter Greens). I saw her on a panel on Myth, Magic, and Fairy Tales in Historical Fiction. She also spellbound the crowd with recitation of the fairy tale Tam Lin (click the link to watch my shaky video). I fell in love with her. She mentioned on the panel that she has a PhD in fairy tales (how awesome is that?) and that she’s written 40 books in 20 years. As soon as I heard that, I realized that is my new goal! (The books rewritten part; though the PhD would be cool too.)

Jenny Q. and I

Oh, and if that wasn’t enough, I met my lovely cover designer, Jenny Q., in person for the first time!

Next year the conference is in Scotland. I really wish I could go, but unless things change that isn’t going to happen. So I’m already looking forward to 2019. I’m considering being on the board, so we’ll see where that goes!

What Inspired Me to Write Dark Lady? A Guest Post By Charlene Ball

Many of you know that I’m a bit of a Shakespeare nut. I have a deep love for his comedies and I’m a Marlovian. (Yes, you will be getting a Shakespeare-was-really-Christopher-Marlowe novel from me sometime in the future.) So when I was asked if Charlene could do a guest post on her book about one of the most enduring mysteries surrounding Shakespeare – the identity of the Dark Lady in his sonnets – I jumped at the chance. So without further ado (or should that be “Much Ado?”) please welcome scholar and fellow feminist Charlene Ball!

Author Charlene Ball

I was in the auditorium at the University of Georgia listening to a short, dapper English historian explain his theory that Emilia Bassano Lanyer was the Dark Lady of Shakespeare’s sonnets. It was around 1975. I was fascinated. Imagine my excitement to learn that someone had discovered a woman who not only might have been close to Shakespeare, but who was a poet in her own right—and, moreover, was an early feminist!

Up until then, my feminism and my love of Renaissance literature were kept in separate areas of my world. Feminism was about marches and demonstrations for the Equal Rights Amendment and Take Back the Night, reading The Second Sex by Simone de Beauvoir, Our Bodies Our Selves, and Sinister Wisdom; listening to talks by popular feminists like Gloria Steinem; reading Adrienne Rich and Audre Lorde; and talking with our very own resident radical feminist, Julia Penelope Stanley, who taught linguistics in the UGA English Department and whose mother ran a cool bookstore called The Hairy Hobbit.

Feminism was also about living with my woman lover, identifying as a lesbian, going to softball games to cheer on our lesbian friends who played on a softball team called—what else?—The Hairy Hobbits (the bookstore sponsored the team).

My coursework for my Ph.D. in Comparative Literature, on the other hand, involved attending classes and writing papers on Medieval Narrative, Shakespeare, European Romanticism, French Classical Drama, and Renaissance Narrative Poetry.

I loved it all. But there was a disconnect. My coursework did not overlap at all with my life.

So when I heard A.L. Rowse say that not only was Emilia Lanyer the lover of Shakespeare, but also an early feminist who roundly condemned men for slandering women and called for women’s equality, I could not contain my excitement. I was already fascinated by Christopher Marlowe, or the myth of him as an early gay poet, and I wrote a play about him. I also wrote a play about Shakespeare and Emilia Lanyer.

This was about the time that feminist scholars were beginning to write about early women writers. The decades that followed brought my graduation, my search for academic employment, and the changes in the world and in my life. I taught English composition and literature, and, in between part-time teaching gigs, I took temp jobs. I put Emilia on the back burner. My life changed. My relationship ended. I found a position as an office administrator in a Women’s Studies department. I researched and wrote about feminist utopias and Audre Lorde. I began to write fiction.

When I returned to the literature I first loved, no longer called the Renaissance, but the Early Modern Period, I found that feminist scholars had discovered Emilia (or Aemilia) Bassano Lanyer and had written a great deal about her. But from a very different point of view.

What I had found most troubling about Rowse’s description of Emilia in his talk, the introduction to his edition of her poems, and his books about Shakespeare was that he took an unquestioningly misogynistic view of her, calling her “a bad lot” and “no better than she should be.” Other scholars agreed, including the historians who chronicled the Bassano family of musicians, David Lasocki and Roger Pryor. Pryor assumed she was “a well known whore.”

So I was delighted to discover Susanne Woods’s biography and edition of Lanyer’s poems. Woods makes it clear that there is no evidence at all to believe that Emilia was promiscuous, and even if she were, what would it matter anyway?

The feminist Aemilia was not the same as Rowse’s Emilia. There seemed to be no way to see them as the same person.

Yet—why couldn’t they be? There was no reason I could see that a vehement defender of women could not also have been the lover of, not only Henry Carey, Lord Hunsdon, but of William Shakespeare as well. And those sonnets of Shakespeare’s that are clearly addressed to a woman are far from flattering. Most of them are angry, mocking, and disparaging. Might not a woman who read them and realized they were about her be offended? Might she not want to answer back in her own defense, in the defense of all women?

So I wanted to write about Emilia (I kept to the spelling of her name that I had first learned) as a woman of her time, assuming just as a “what if” that she was Shakespeare’s lover AND a talented poet. I wanted to portray her as she might have been, doing all the things we know she probably did based on Rowse’s research, but not accepting his easy misogyny and stereotyped thinking. For no scholars deny the basics of Rowse’s research; they just don’t accept his conclusions that she must have known Shakespeare and must have been the woman in the Sonnets.

My Emilia, then, is the daughter of a Court musician and member of the large extended family of Bassanos who came from Venice to London at the invitation of Henry VIII. She is the one whose father died when she was young, who was fostered by Suzan Bertie, Countess of Kent, who became the mistress of Lord Hunsdon at a young age, who married her cousin Alfonso Lanyer when she became pregnant, and who visited the astrologer Simon Forman and endured and may have encouraged his sexual advances. My Emilia is also the mother of two children, one of whom died in infancy. My Emilia is the friend of literary women and a poet herself. She is the woman who published a book of poetry in 1611 and who dedicated it to nine of these women, thus becoming one of the first women in England to publish her work and the first to seek patronage as male authors did.

So—shameless plug!—my novel, Dark Lady: A Novel of Emilia Bassano Lanyer, brings together my feminism and my love of this fascinating time in history called the Early Modern Period, the time of the incredible burgeoning of drama and poetry by Shakespeare, Marlowe, Jonson, Phillip Sidney, and so many other men. And now we know about some of the women: Mary Sidney, Countess of Pembroke; Lady Arbella Stuart; Isabella Whitney; Mary Wroth; Anne Vaughan Locke Prowse. And Emilia Bassano Lanyer.

Books for Further Reading:

David Lasocki with Roger Prior, The Bassanos: Venetian Musicians and Instrument Makers in England, 1531-1665 (Scolar, 1995).

A.L. Rowse, The Poems of Shakespeare’s Dark Lady: Salve Deus Rex Judaeorum by Emilia Lanier (Clarkston N. Potter, 1979).

Susanne Woods, ed., The Poems of Aemilia Lanyer: Salve Deus Rex Judaeorum (Oxford UP, 1993).

____________, Lanyer: A Renaissance Woman Poet (Oxford UP, 1999).

Thank you, Charlene! I, for one, can’t wait to read your book! If you have questions for Charlotte, please put them in the comments. I’ll let her know and she’s be around to respond.

Guest Interview with Tyler R. Tichelaar, author of the Children of Arthur series

Some of you may remember my friend, author and fellow Arthurian nut Tyler Tichelaar, from his 2012 guest post where he talked about a trip he took to Turkey and the Arthurian connections he found there. Well, now he’s back, talking about the fifth and final book in his Children of Arthur series about King Arthur and his descendants.

Tyler is an author of Arthurian nonfiction and historical fantasy and an enthusiast for, if not expert on, modern Arthurian fiction. His nonfiction book King Arthur’s Children: A Study in Fiction and Tradition, which I reviewed here, was published by Modern History Press in 2011. It explores various traditions concerning King Arthur’s children in Welsh and medieval sources, the possible historical descendants of King Arthur, and more recent creations of descendants for King Arthur in modern fiction. (It’s a great book, one that has been a resource for more than one of my novels and non-fiction books.)

Tyler began writing King Arthur’s Children as his master’s thesis in 1994 and as research so he could write his first King Arthur novel, which eventually became the five-book Children of Arthur series, consisting of Arthur’s Legacy (2014), Melusine’s Gift (2015), Ogier’s Prayer (2016), Lilith’s Love (2016), and the newly released Arthur’s Bosom (2017).

I’m thrilled to have him here today to talk about the publication of his fifth novel in the series, Arthur’s Bosom.

Without giving too much away, can you give us an overview of the series for readers not familiar with it?

Tyler: Sure, Nicole, and thank you for having me here. The premise of the series revolves around the idea that King Arthur had descendants. Most people are not aware that he had any children other than Mordred, and depending on which version of the story you read, Mordred is often just Arthur’s nephew. However, there are ancient Welsh traditions that Arthur had several other sons—namely Gwydre, Llacheu, and Amr. There are also traditions that Mordred had children. Furthermore, several families over the centuries have tried to claim descent from King Arthur, including the Scottish Clan Campbell, and the Welsh Tudor family, which, of course, means the current British royal family can claim descent from King Arthur. Whether any of this is true is open to speculation. Many people are very interested in determining the historicity of King Arthur, but to me, the magic has always existed in the legend’s flexibility to recreate itself for each new century and even decade. My premise then is that King Arthur did have descendants, they are living among us today, and considering the fifteen hundred years separating King Arthur’s time period from our own, most of us are King Arthur’s descendants.

Wow. That would be really cool to be a descendant of King Arthur. (I have always thought I was a queen…) So will you tell us a little about what King Arthur’s descendants do in your novels?

Tyler: In the first novel, Arthur’s Legacy, the story starts in 1994. The main character, Adam, has been raised by his grandparents. His mother gave birth to him outside wedlock and then basically abandoned him. He doesn’t know who his father is. I don’t want to give too much away, but eventually at age twenty-two, he starts to get answers, which lead him to finding his father in England and also meeting a strange professor named Merle (you can guess who that is). Eventually, Merle arranges for Adam to fall into a deep sleep and dream the true story of Camelot. In that dream, we learn that Mordred had descendants who survived the fall of Camelot. We also learn that Mordred was one of the good guys, and instead, other villains brought about the fall of Camelot. In the successive volumes, Mordred’s descendants battle the evil ones who destroyed Camelot and who continue to try to destroy them over the centuries, including during the time of Charlemagne, during the Fall of Constantinople in 1453, and during World War I.

Is it giving too much away to ask who these villains are who were really responsible for the fall of Camelot?

Tyler: No, you learn that right in the opening pages of Arthur’s Legacy. There are two of them, but they are not the usual suspects, although I believe they are the most likely ones when you dig a bit deeper into the legend. First of all, we understand today that history is written from the conqueror’s perspective, so think about who ends up ruling Britain after Arthur—it’s Constantine of Cornwall. It’s never clear why he is chosen as Arthur’s heir; he seems to be some shirttail relative. However, in the sixth century book De Excidio et Conquestu Brittainiae, written by Arthur’s contemporary Gildas, there is reference to a king named Constantine who murdered two royal youths. I believe these youths are Mordred’s sons. In Arthur’s Legacy, one of those sons, Meleon, has a child before he dies, and that child carries on Arthur’s bloodline. The other villain is Gwenhwyvach, whom I imagine most readers have never heard of. However, there is a statement in the Welsh triads that one of the causes of the Battle of Camlann was the blow Guinevere struck to her half-sister Gwenhwyvach. There is a later tradition in the Prose Lancelot that Guinevere’s half-sister, Gwenhwyvach, tried to pass herself off as Guinevere on Arthur and Guinevere’s wedding night. The trick was discovered and Gwenhwyvach, known as the False Guinevere in the Prose Lancelot, was imprisoned in Hengist’s Tower. So it is Gwenhwyvach and Constantine who bring about Camelot’s fall.

I’ve learned a lot about Gwenhwyvach in my non-fiction research. What you say makes perfect sense. I love this theory. But I’m confused; how can they continue to pursue and try to kill Arthur’s descendants in successive centuries? Is it reincarnation?

Tyler: Not exactly. Constantine can’t since he’s just human, but Gwenhwyvach can in my novels because she is a witch, and even more than that, she is an ancient sorceress who is able to reincarnate and has for many centuries since the beginning of time—the title of the fourth book in the series, Lilith’s Love, gives away her real identity. You see, Lilith was Adam’s first wife in the Garden of Eden. Tradition says she refused to let Adam be on top (a sign of submission) when they had sexual intercourse; consequently, she was derided in Jewish folklore as a monster (a totally sexist attitude), and in my series she acts that way.

Interesting. Tell me about the other women in your novels. You know I’m all about the girl power.

Tyler: One thing I absolutely wanted to avoid was just another story of good vs. evil. Lilith/Gwenhwyvach does many evil things in the novels, but she is a complicated character, and in Lilith’s Love, she gets a chance to explain her own side of things. There are lots of gray areas in my novels—nothing is black and white or exactly as it seems at first. One thing I refused to do was just follow the traditional storylines of various medieval legends that I used. I wanted to turn everything on its head, showing that these stories I use are not necessarily what we have been taught. I did that first by retelling the Camelot story.

I also turn everything on its head in the second novel, Melusine’s Gift, where the French fairy Melusine is the strong female protagonist. Traditionally, Melusine was raised in Avalon, so it only made sense to me that Melusine must have grown up knowing King Arthur, who was there recovering from his wound. Melusine marries one of Arthur’s descendants and uses her fairy powers to try to bring about good. However, in tradition, Melusine made her husband promise she could always hide herself away on Saturday and not be seen by him. Eventually, he broke his promise and discovered she took on a mermaid or serpent form (depending on which version of the legend you read) on Saturdays. At first, he kept her secret, but later in a fit of anger, he called her a serpent in front of his court and she flew away. She is treated as an evil character in tradition, but I am much more kind to her. She is the strength of her family and also works to bring about good, though others cannot accept her because she is different.

Another strong female character throughout the series is Morgan le Fay. Since she shows up in the Charlemagne legends, I thought she obviously must be immortal and live beyond Arthur’s time, so throughout the series, she intercedes as needed to help Arthur’s descendants (and her own since she is Mordred’s mother in my novels).

People know know you through King Arthur’s Children (both the blog and the book) may not know that you have another blog where you write about Gothic literature. Can you explain what that influence is on your Arthurian novels?

Tyler: Yes, one of the main influences that carries through all five novels is the Gothic format of using stories within stories to move forward the plot. It was used in such classic Gothic novels as Matthew Lewis’s The Monk (1796) and Mary Shelley’s Frankenstein (1818). All five novels in the Children of Arthur series use this format. By inserting stories within stories, I am able to peel back the layers of the onion—to reveal the secrets about the characters and secrets lost to time that King Arthur’s modern descendants must learn in order to succeed in their goals.

I also use Gothic elements particularly in Lilith’s Love, which includes in it the story of Quincey Harker, the son of Jonathan and Mina Harker, who defeat Dracula in Bram Stoker’s classic novel. Because Mina drank Dracula’s blood, I imagined that Quincey, who is born at the end of Dracula, must have some of Dracula’s blood in him, which gives him some superhuman powers. In his quest to understand his vampiric origins, Quincey has several Gothic experiences that make up bulk of the novel, which you might call a sequel to Dracula really.

And what about your latest novel, Arthur’s Bosom? When does it take place and how does it bring the series to an end?

Tyler: I wrote Arthur’s Bosom for two reasons. The first is because I wanted to bring the series full circle since the first novel largely takes place during Arthur’s time but the three novels after that take place in different centuries, so this novel returns the storyline back to the time of Camelot. In the novel, Arthur’s modern-day descendants, Lance and Tristan Delaney, travel back in time to sixth century Britain.

The second reason I wrote this novel as the series finale is because in the first book of the series, Merlin tells Adam that he and his family (Lance and Tristan are Adam’s grown sons) will be responsible for helping to bring about King Arthur’s return. I’ve been sorely disappointed by the few novels that have tried to depict Arthur’s return, so I set about to write my own version of what Arthur’s return would be like, and hopefully, I pulled it off in a way that will surprise and satisfy readers. So far, the response I’ve received has been positive.

Why did you pick the title Arthur’s Bosom?

Tyler: It’s actually from a line in Shakespeare’s Henry V where Falstaff is said to have gone to Arthur’s Bosom. Shakespeare was playing on the biblical phrase of Abraham’s Bosom. I used the term to refer to a type of Arthurian heaven. I must admit I have no desire to sit around on a cloud and play a harp all day. I think I’d much rather go to a heaven that resembles King Arthur’s Britain as depicted in Malory, so in the novel, Arthur’s Bosom is used to refer to the Arthurian version of heaven where Arthur’s true believers go when they die.

What do you hope readers will come away with after they read the series?

Tyler: The theme of this series is “Imagination is the salvation of mankind.” I am a firm believer in the Law of Attraction and that our thoughts create our world. I want people to use their imaginations to think outside the box, to question the past we believe we know to find new truths in it, and also to imagine new and positive possibilities for our future. Through imagination, we have the power to shape our world. We don’t have to believe in a doomed world where global warming and the possibility of nuclear war make us think humanity’s best days are past. The future is still ours to write, and through the power of our thoughts, we can make it into a glorious one. I even think it possible we could change the past if we concentrated hard enough upon it. Why can’t the King Arthur and Camelot we dream of have been real? Why can’t we make it real in the future, even if it is in the past? What would it mean to us if we learned we were descended from King Arthur? Would it make us want to live those ideals of Camelot? So, ultimately, I hope that in the Children of Arthur series, I have used legends—that of King Arthur, but also Charlemagne, Prester John, Ogier the Dane, the Wandering Jew, Dracula, etc.—as inspiration and encouragement for all of us to want to create a better world for our future.

Wow, that’s a lofty but worthwhile goal. Before we go, where can readers purchase your books?

Tyler: The books are for sale at my website www.ChildrenofArthur.com. They are also at the major online booksellers—Amazon, Barnes & Noble, Kobo, Google Play, etc. They are available in paperback and ebook formats. At my website there is also more information about the Arthurian legend and I have a blog where I regularly write about Arthurian modern fiction and other related topics.

Your blog really is a great resource. I’ve been reading some of your old posts lately. So everyone, go check it out. Thanks again, Tyler for being here today. It’s been a pleasure having you. I wish you all the best with your series.

Tyler: Thanks, Nicole. I’ll be looking forward to reading your own last Guinevere novel when it comes out.

Do you have questions for Tyler? If so, please leave them in the comments. He’ll be stopping by to answer them.

A Podcast and an Interview

Just a quick note to let you know that the Unscrambled Authors podcast episode I was interviewed for a few weeks ago is up: Listen here. I haven’t listened to it yet, but the interview went really well.

Also, I’m up on Mary Tod’s blog today talking about what makes successful historical fiction. Check it out.

Quick Book Updates

In the summer, this is what editing looks like. This is me trying to figure out what needs to change in Mistress of Legend.

I’m thankful to finally be back to writing on a regular basis. I seem to have fits and starts this year, which I guess is normal, given that I write in between conferences and day job.

Speaking of conferences, don’t forget that I’ll be at Gateway Con June 16-17 in St. Louis and the Historical Novel Society Conference in Portland, Oregon, June 23-24. I’m speaking and signing/selling books at both, so please come and say hello! I’ve just been added to a third panel at the HNS conference, “Putting the Her in History,” with two of my favorites, Patricia Bracewell and Mary Sharratt! Here’s the full information: https://nicoleevelina.com/events/. (Make sure you look at both the reader and writer sections of the page.)

I’ve had some new projects pop up, so I wanted to give you a rundown of where everything stands:

The Once and Future Queen: Guinevere in Arthurian Legend (non-fiction)
I spent the early part of this year researching for my first non-fiction book, which traces the evolution of the character of Guinevere from her Celtic roots to today. I started writing on it in April, but then other things came up. But I’m back at it at a steady clip now. I was hoping for a summer release, but now it’s looking more like end of the year.

Mistress of Legend (Guinevere’s Tale Book 3) (historical fantasy)
I know all of you are eagerly awaiting this book, and frankly, so am I. Guinevere and Morgan have been talking to me a bit, but not as much as I want them to, so things are going slower than I would like. I have re-read my first draft and while it’s not as bad as I thought it was, it still needs work. I have a revision outline and am doing some additional research, which should be finished in the next few weeks. I’m hoping to start writing in earnest on it over the long Fourth of July weekend. I was hoping to have this out by the end of the year, but now I think it will likely be early 2018.

But the book does have a cover! Members of the Guardians of Endangered Stories (my street team) have seen it, so if you can’t wait, please join! Everyone else will get to see it when we get closer to the book’s release.

Untitled Non-Fiction 
Ever since I started researching Victoria Woodhull, I have come to realize how much feminism means to me. There are so many great stories of women who have gone against the grain of their society and fought for our rights. I am considering writing a biographical historical fiction of another of them, but I also want to examine what feminism has meant in the United States since the birth of our nation and where the movement might be going, especially in our current political climate.

We know for sure there have been three waves in the movement, each with their own inciting event, primary cause, public figures and cultural shifts. The first was in the 19th and early 20th centuries when women fought for the right to vote. The second was from the 1960s – 1980s, when women fought for equal rights, equal pay, an end to sexual harassment and other causes. The third began in the 1990s and encompasses a variety of topics from slut shaming to contraception and more. Just in a little bit of reading, I’ve learned that the waves are more similar than one might think at first glance. I would also argue that we are currently in the beginning of a fourth wave, spurred on by the 2016 presidential election and its fallout.

This is a passion project that I am just beginning to outline and research. I know it is going to take several years and it won’t take the place of my fiction writing. I need something to work on when the characters aren’t talking, so this is my ongoing project.