[Guest Post] Wales and the Tudors By Sarah Kennedy

51YLOAqIy0L._SX329_BO1,204,203,200_I am thrilled to have with us for the second time, historical fiction author Sarah Kennedy. The third book in her The Cross and The Crown series, The King’s Sisters, is out now. Today, she’s going to give us insight into what it was like to visit Wales while researching the trilogy. Take it away, Sarah!

The principality of Wales, to the west of England, has long been a site of contention, and many Tudor enthusiasts know of it through Shakespeare’s Henry IV plays, which feature the prince Owen Glendower, or through reading about the Welsh heritage of Henry VIII and his children.  The history of struggle over Wales, though, goes back much further.  The Normans occupied it, then the Anglo-Norman English, while the native princes of this beautiful and lush place tried valiantly to hold on to their power—and their homes.  A friend and I recently took a short road trip from Cardiff to Aberystwyth, wending our way north and then circling down the coast, stopping to see some of the historical sites that remain to mark the efforts of Welsh leaders to keep Wales out of the hands of their neighbors.  I’ve always been interested in the history of this small principality, and since a Welsh man plays an important role in my new and upcoming novels, The King’s Sisters and Queen of Blood, I was happy to see this beautiful place again.

The Tudor monarchs, during whose reigns my novels are set, were Welsh, but once they gained the throne of England, they, like monarchs before them, thought of Wales as part of England.  I want, in my novels, to highlight the tensions that existed between these two cultures, even during the long Tudor century.  Despite the fact that the red dragon of Wales appeared on naval emblems during Henry VIII’s reign, and Elizabeth I continued that tradition, Henry and his children are revered as English monarchs.

IMG_0807My friend and I were interested, of course, in the medieval Welsh castles that made up Edward I’s famous “ring of iron,” a series of fortifications erected by the king to subdue the Welsh and ward off invaders from the sea.  These are Anglo-Norman castles, and the Welsh princes often fought for control of them.  Among them is the great Caerphilly Castle, which was blown up from the inside during the English Civil War.  One of the great corner towers leans at a precipitous angle from the explosion.

image002We also visited Harlech Castle, which sits on the coast of the sea and provides breathtaking views.

These Norman castles are grand tourist destinations—but they’re not Welsh.  They were built by English kings to protect English interests.  We also wanted to visit some of these “more Welsh” sites, and wandered through the countryside until we came to Dolforwyn—a castle, as the small interpretive plaque informs visitors, “designed in Wales.”

IMG_0813This castle, which is difficult to find without careful attention to tiny roadside signs, was erected during the late thirteenth century.  The surrounding hills are now sheep fields, and visitors are asked to close the gates behind them as they walk up.  It’s a grand site, with views across the fields to the east, and though ruinous, Dolforwyn still shows what a castle (rather cozy in its dimensions) built by the Welsh for a Welsh prince looked like.  It has the typical D-shaped tower (called an aspidal), living quarters, cooking and storage facilities.  A town grew up around its base, protected by (and providing support to) the castle.  The builders, however, had neglected to sink a well inside the protective walls, and when attacked, the castle was easily taken by Edward I, who gave it to his ally Roger Mortimer (that’s my friend, Terry Southerington, peering over the edge!).

Many of these “designed in Wales” castles still exist in the Welsh interior.  They are often open to the air and neglected—and few visitors ever see them.  Most tourists prefer the great Edwardian castles.

Military fortifications were not the only great structures built in Wales during the Middle Ages, however.  This country was also home to many abbeys, most of which now lie, like the later-built castles, in ruins.  Tintern Abbey, made famous by William Wordsworth, is of course a popular tourist destination, but we made for the lesser-known, smaller sites, where monks lived and worked until the Reformation under Henry VIII.

IMG_0810Talley Abbey—or what’s left of it—lies at the end of a winding narrow road.  This little abbey was the only place where Premonstratensians (or “White Canons”) lived in Wales.  There’s not much left, but what is there testifies to a brief time of peace between the Welsh and the English, which allowed it to be built.  Sadly, the Cisterians considered the Premonstratensians to be dangerous rivals, and a lawsuit broke out which prevented the abbey from ever being completed according to the original plan.

IMG_0829The Cisterians, of course, fared no better under Henry VIII than did the White Canons, and abbey of Cymer is almost as ruined as Talley.  It sits behind a holiday park, part of a farm (visitors park at the farmhouse, which is just across the driveway from the abbey), but the remaining walls suggest a site once thriving, at least for the few monks who lived there.  They were horse-breeders, providing stud-service for Llewelyn ap Iorwerth, and though they, like other abbeys, suffered economically during the thirteenth-century wars between the Welsh and the English, their downfall only occurred—yes, you guessed it—when Henry dissolved the order and confiscated the building and its contents.

IMG_0809By the time of the Tudor monarchs, the great castles were out-of-date as military fortifications, and Henry VIII centralized power when he seized the church’s property.  Much of that property was in Wales.  The small, prosperous abbeys were closed, as were the English ones, by Henry, left to be scavenged by locals for building materials.  The Welsh Tudors have, in history, become more English than the English, and, perhaps ironically, many of the old castles’ occupants stood with the English monarchy during the later Civil War. And, yet, the complex and rich history of Wales that gave rise to their power remains—in its stunningly beautiful landscapes, its living language, and its many architectural ruins, both small and large, both Welsh and English, that still dot its hills and valleys and shores.

Do you have a question or comment for Sarah? If so, please leave it below. She’ll be checking them and answering as she can. Don’t forget, you can order The King’s Sisters at all major retailers.

[Guest Post] The Long Road to a Debut Historical Novel by Jeannine Atkins

Photo1LITTLE-WOMAN-webGrowing up, I liked to read books about ordinary girls doing things like fighting with or forgiving their sisters, but set in the past. Cooking in pots over fires or slogging through snow to reach wells or cold horses seemed thrilling. I started with an orange-covered series called “Childhoods of Famous Americans,” which were then shelved with biographies, though their use of dialogue and other fictional elements have convinced some librarians to put them elsewhere. I loved Laura Ingalls Wilder’s books about Little Houses in woods or on prairies, another series that has made a similar shift to the fiction sections. I’m happy to browse for what I want, which remains books based on real girls and women who are full of dreams.

I found such a girl in one of the first fat books I cracked open. Many years ago, Little Women’s Jo March — huddled in a chilly garret penning plays and stories — gave me my first inkling that a girl could grow up to be a writer. My curiosity about other women writers stuck and carried me through college. I was unsatisfied with most reading lists, but scanned the stacks for books by women who’d been forgotten. I wrote some papers about them, and while I kept a scholarly tone, felt as if I were playing dress-up, again immersed in history.

The challenges and triumphs of women who came before me kept me good company as I wrote some stories that were published and two novels that weren’t. After I became a mom and read to my daughter, I found myself happily back with once-cherished books and the mother of the co-president of the Laura Ingalls Wilder Fan Club. The girls made posters (“Laura rocks! Ma rules!”) and wore old dresses to bake cornbread. Reminded of how life-changing children’s books can be, I put away my novels about angsty adults to write books for the young. I published picture books about paleontologist Mary Anning and religious reformer Anne Hutchinson, and collections about women explorers and pioneers in air and space.

No one should write history who doesn’t love doing research, and some of that is rereading books you once adored. I came back to Little Women, but what got inside me most this time was the half-hidden story of the youngest sister. In the novel, Amy March gives up art when she realizes she might not become great. In real life, May Alcott stuck with her paints.

I believed this real person who tried to balance art and love deserved more attention. Children and teens are a wonderful audience, but I wanted the girl I first met in Little Women to step out as fully adult, finding her way through or around traps and temptations and reveling in romance, too. For Little Woman in Blue: A Novel of May Alcott, I circled back to writing for adults who may find May’s struggles familiar, though they took place more than 150 years ago. Could May find a true love, in a period, after the Civil War, when eligible men seemed scarce? Could she keep making art in a time when women painters were rarely taken seriously? I loved exploring those questions, and finding a way to let another woman step out from the shadows of the past.

To learn more about Jeannine Atkins’s books about girls and women in history, please visit her website at www.Jeannineatkins.com.

Do you have any questions or comments for Jeannine? She’ll be around checking out the comments.

Learning to Love History Through Historical Fiction

HistficI think Rudyard Kipling had it right: “If history were taught in the form of stories, it would never be forgotten.” When I came across this pin on Pinterest I realized it was something I wanted to explore more in-depth, because I’ll tell you one thing, I’ve learned more from the historical fiction I’ve read than I did in all my years of studying history in school.

For those prone to argue, yes, I know historical fiction is part fiction. I’m not saying we should base all of our knowledge on it, but that it can spark interest in a certain time period or person much easier than a dry history book can. For example, I just finished Labyrinth by Kate Mosse. Its backdrop of the Cathar Inquisition in thirteenth century France made me want to learn more about this little-known sect of medieval Christianity. I can promise you that if we covered that in school, I don’t remember a word of it.

Why does historical fiction stay with us? Well, for one, stories are the way the human brain processes information. We tell each other stories every day in the form of conversation without even noticing we’re doing it. Chances are good that when you’re telling your friend about that awesome party you went to, you’re going to tell her stories about the evening, not a chronological recounting of events (unless you are Sheldon Cooper, in which case you wouldn’t have gone to a party anyway). I think this is the fundamental flaw in many history textbooks; they focus on cramming as many dates and facts in as possible, and thus, lose the true story.

As author Heather Web recently said in a recent Huffington Post article, “What’s not to love about history? I think it gets a bad rap from our grade school and high school days where many teachers force-fed us timelines and names to memorize, as opposed to teaching us to explore movements and larger concepts–never mind all of those juicy stories. This is what history, and historical fiction, really is: juicy stories.”

That brings me to my second point about historical fiction. It breathes life into history in a way traditional textbooks don’t. This happens through the story and the characters, no matter if they are fictional paupers begging at the cathedral gates or real-life kings and queens. They represent the plight (or fortune) of people in a given time period, they show us history in action through a personal lens with all of its love, triumph, grief and pain. Whether we leave a historical fiction work thinking, “Oh my God am I glad I didn’t live in that time period,” or “Dude, where’s the time machine? It would have been so cool to live in that time,” we’ve personalized the story. History now matters to us.

And matter it should. Beyond the oft-repeated proverb “if we don’t remember history, we’re bound to repeat it,” history shows us what is right and wrong with humanity, emphasizes the good that we should seek to amplify and horrors that should never be permitted again. By living these things through the fictionalized lives of real or made up people, we become more compassionate and empathetic. I just finished a book called The Hammer of Witches by Begoña Echeverria, whose graphic portrayal of the Basque witch hunts made me realize what danger we place our entire community in when we fail to see the humanity of those around us and instead choose the bandwagon of bigoted hatred and fear.

Personally, I would love if history classes in high school (or at least college) incorporated historical fiction into their curriculum, especially as way of whetting the appetite for certain time periods or topics. (Come to think of it, that’s kind of what my high school Western Civ teacher did when she had us read 1984 before studying totalitarian societies. I’ve been hooked on dystopia ever since.) For example, I personally think Susanna Kearsely’s forthcoming A Desperate Fortune has the clearest explanation of the reason for the Jacobite rebellion/exile I’ve ever read. Historical fiction can even take you places the history books rarely do. Jo Baker’s Longbourn gives a glimpse into the lives of servants and soldiers in Regency England, while most history books stick to the sterile facts of monarchy and war.

And you wouldn’t even have to use books, or at least not books alone. There are so many period films and TV shows that they could be incorporated as well. Even if they are of questionable historical accuracy (*cough* Tudors *cough*) that can be used to spark discussion. “Spot the inaccuracy” could be part of a test. It could be employed interdepartmentally as well. The Paris Wife could be an intro to Hemingway or The Secret of All Things a prelude to biology. The possibilities are endless. (Man, now I wish I had my PhD. or even a master’s in history so I could create this class.)

I just hate the idea of history meaning less and less to future generations. But if mine is any starting place (I’m at the tail end of Gen X), things aren’t looking good. A recent report by the American Historical Association (I’m a member), showed that schools issuing history degrees are showing a downward trend, which isn’t too surprising given the recent economy. The more we can use historical fiction to spark interest, the better off we will all be. The day history becomes only dead guys and boring facts is the day we lose a valuable record of our humanity.

What are your thoughts? Do you agree or disagree? What historical fiction has made you care about history? What do you wish young people had to read in school? Do you think there is danger in mixing fiction in with our history?

On a Mission from…the Muse

Source: Wikimedia Commons: "Uffizi Gallery - Daughter of Niobe bent by terror" by Petar Milošević - Own work. Licensed under CC BY-SA 4.0 via Wikimedia Commons - http://commons.wikimedia.org/wiki/File:Uffizi_Gallery_-_Daughter_of_Niobe_bent_by_terror.jpg#mediaviewer/File:Uffizi_Gallery_-_Daughter_of_Niobe_bent_by_terror.jpg

Source: Wikimedia Commons: “Uffizi Gallery – Daughter of Niobe bent by terror” by Petar Milošević – Own work. Licensed under CC BY-SA 4.0

While that headline doesn’t have the same ring as a certain Blues Brothers quote, it does get the idea across that I feel like my writing comes from a higher source – and for a purpose.

Lately, I’ve realized that while I started writing books just to tell the stories that were in my head, it’s come to mean more than that. While I don’t intend to start a Hemingway- or Pound-esque writing revolution, there is a deeper reason behind my writing, one I want to make sure everyone knows.

I’ve distilled this into two mission statements, one for each genre I currently write:

Historical fiction: To rescue little-known women from being lost in the pages of history. While other writers may choose to write about the famous, I tell the stories of those who are in danger of being forgotten so that their memories may live on for at least another generation. I also tell the female point of view when it is the male who has gotten more attention in history (i.e. Guinevere to King Arthur).

Women’s fiction: To create strong female characters who are role models for women of all ages in stories that are fun and romantic. These women represent the modern independent female spirit and are meant to appeal to women who feel they are outside of the norm of society whether by age (my heroines are almost always over 30), race, sexuality, or natural inclinations (we all have things that make us feel like freaks, right?). I hope my readers can find something in my books that makes them think, “Oh, thank goodness, I’m not alone.”

If nothing else, I figure this gives people (readers, potential publishers, etc.) an idea of what to expect from my writing. It also helps keep me focused and reminds me on the bad days exactly why I thought it was a good idea to become a writer in the first place. And yes, it doesn’t hurt as part of my “brand” to know what sets me apart from other writers. (If you want a good resource on author branding, I recommend this post by author Jami Gold.) But did you notice that I listed that last? It’s because it’s not nearly as important to me as making things clear for myself and my readers.

I all of you feel like you know me just a bit better now.

What’s your personal mission statement? No matter what you do for a living, it doesn’t hurt to know why you feel like you’re here, on this planet, in this life. Give it some thought and share with me in the comments. I’d love to hear from you.

 

Guest Post: HF Author Sarah Kennedy Talks City of Ladies and Christine de Pizan

I am so excited to have as my guest today historical fiction author Sarah Kennedy, whose recent book, City of Ladies (second in the Cross and Crown series), was one of my favorites of 2014. (Here’s my review; still waiting for Historical Honey to post it. And here’s the related article I wrote for the Historical Novel Society.)

Today Sarah talks about her book, as well as the real-life inspiration for its title and main themes. Thank you for being here, Sarah!

Cities of Ladies by Sarah Kennedy

Sarah Kennedy

Sarah Kennedy

When I began my second novel, City of Ladies, I didn’t have a title in mind.  I wanted to move my main character, Catherine Havens, forward in time:  get her married, put her in charge of a large household.  Catherine, however, is not the sort of person who would simply forget the convent that she grew up in, which was a community of women (despite the presence of a priest and the male hierarchy of the Roman Catholic Church).  She would, of course, keep women around her.  She is comfortable with women.  She respects their ability to reason and work.

As the novel evolved, Catherine’s newly-formed household seemed to draw to it former nuns, and Catherine wanted to protect them.  The women have nowhere else to go—and yet they still have skills and knowledge that can help the girls and village women nearby.  What else would Catherine do besides take them in and shelter them?  This is part of her calling, as she sees it, even in a secular world, and it also becomes part of the problem of the plot, as the women begin to turn up dead.

At some point in the drafting, the original City of Ladies began to tug at my mind, both as a book that Catherine would have owned and as a metaphor for the world Catherine is trying to build under Henry VIII.  The Book of the City of Ladies (1405) was written about a hundred and fifty years before my book’s time period, by a woman named Christine de Pizan.  Christine was Italian by birth but spent much of her life in Paris.  She was unusually well-educated for her time (like my Catherine), primarily because her father (like Catherine’s father) insisted upon it.

City of LadiesChristine was happily—and conventionally—married in her teens and bore three children.  Her husband, however, died, leaving Christine to raise her family alone.  This she did by writing, becoming the first woman in European history to earn her living as an author.  Other women did write—and some of them were widely known—but they were nuns, who had the leisure and the status to circulate their work.  Nuns didn’t have to make money, but Christine did.  And she succeeded.

The authorial tradition was heavily against her, and The Book of the City of Ladies takes on the cultural and theological arguments against women in general.  Christine writes in defense of women’s moral and intellectual worth, against the backdrop of “all manner of philosophers, poets and orators too numerous to mention, who all seem to speak with one voice and are unanimous in their view that female nature is wholly given up to vice” (6).  As she becomes more and more despondent about being a member of such a flawed sex, she is visited by three ladies, who reveal themselves as Reason, Rectitude, and Justice.  These three ladies encourage and assist Christine in building her “City of Ladies.”

This city is metaphorical.  The book itself is the structure, and within it are the “lives” of many women, historical, biblical, and mythological, who have been exemplary or have done extraordinary things.  They are mothers, sisters, daughters, and wives—and they show that women are resourceful, caring, intelligent, and moral.  The entire book becomes, as Rosalind Brown-Grant notes, an example of the “biographical catalogue,” and it seems designed more for visiting than for a beginning-to-end tour.  The three-part structure and multiple sub-headings and “arguments” within the text make for fruitful lucky-dipping.  Christine’s City of Ladies may be old-fashioned in its emphasis on moral virtue in women, but her goal is not to provide a defense of what women should do but rather a defense of what women are.

My own City of Ladies is a metaphor, as well, but it’s also the physical house where Catherine Havens lives.  She dreams of a world where women can read, write, think, and work.  My Catherine does want to go out into the world and use her knowledge.  She wants to hear her calling for herself—and then act to make the most of her gifts, which she believes are given to her by God.

And so Christine de Pizan’s Book of the City of Ladies became the only choice when I sought out a title.  My Catherine began life in a convent, and the historical Christine went to live in one as an older woman.  In hindsight, it seems natural that Catherine claimed that book as one of her most prized possessions.  It gave her something that Christine herself didn’t have—a foremother who showed her in writing what a woman, even under a harsh king, could accomplish.

Source:
Brown-Grant, Rosalind, editor.  The Book of the City of Ladies by Christine de Pizan.  London:    Penguin, 1999.

Do you have any questions or comments for Sarah? Please leave them below. She will be popping in and answering comments/questions as she can. And again, go read her books if you haven’t already!

Treatment of Female Characters by Male Writers of Historical Fiction

Mary Magdalene by Georges de La Tour (Source: Wikimedia Commons, Public Domain)

Mary Magdalene by Georges de La Tour (Source: Wikimedia Commons, Public Domain)

I’ve been thinking about the subject of this post for quite some time now, and I’m hoping that all of you can offer some recommendations. You see, I’ve really been trying to diversify my historical fiction reading by including books written by men. After all, if I preach about female equality, I should exhibit equality in my own reading, right?

Here’s the problem: I can’t find any male historical fiction authors I like. (Tyler, I haven’t read your book yet, so I’m not including you in that statement.) I’ve tried a variety of male authors (whom I won’t name out of respect for them and those who like their books), and my dislike of their work boils down to one of two things:

  1. I don’t really go for military history, so that rules out a lot of male authors who concentrate on that part of history.
  2. Out of the stories I’ve read, nearly all portray women in a negative light.

I’d like to focus on that second point for a moment. The stories that I’m referring to at best treat their female characters as afterthoughts, cardboard props to fawn over their male heroes (my what a big sword you have), and at worst (and more commonly) portray them as prostitutes and/or victims of the male characters. I’ve read the female-character-as-prostitute trope so many times in male authored books that I wonder if I need to write a book called,”Healers, Mothers, Craftswomen and Estate Managers: Other Roles to Give Your Female Characters.” A prostitute can serve a very important role as one who has access to all sorts of information from a variety of types of men, and who can slip in and out of both the respectable areas and the underworld, so I can see why giving that profession to a character could be useful. But that’s not generally how I’ve seen her used in books written by men. Many times, the prostitutes serve no real purpose to the story other than to give the male characters someone to physically and sexually abuse, often graphically. It’s as if the scenes are some sick fantasy of the author (which I hope they are not),  they think this is how readers expect women to be portrayed in history, or maybe it’s just lazy writing. (See my friend Shauna Granger’s post on sexual violence as lazy writing.)

There is no faster way to sour a book than to abuse a woman or an animal for no reason (and rarely is there a good reason). There is one male author in particular who is wildly successful, and whose book I enjoyed immensely until there were multiple gratuitous scenes of abuse of women and animals. I think he was trying to show how sick and twisted one of the male villains was, but I can think of at least a dozen ways that could be done that wouldn’t have involved such needless violence. (Not that I’m saying that I’m a better writer, just that there are other options.)

I realize that throughout most of history, women had little power. But that is no excuse for continuing to reinforce the woman as victim trope. Yes, women were (and still are) brutalized, raped and murdered as part of war or even just for being in the wrong place at the wrong time. If this is important to the plot and accurate to the time period, by all means it should be included. (One of my books has a fairly lengthy section where the main female character is raped and tortured, but it is traditional to the mythology and serves a larger purpose in the overall plot.) What I have trouble accepting is when such things are used without apparent purpose or just because the author can.

Sometimes I wonder if this portrayal of women is due in part to the gender roles people were raised with. Boys are supposed to like war and fighting and girls are supposed to care about relationships and love, therefore that’s what we focus on when we write. (Although there are a few female military history novelists whom I’ve heard are very good.) It’s also possible that men may feel the need to show how macho or heroic their male leads are by making the females look or be subservient by comparison. Another possibility is our schooling and popular history has enforced the “male as hero, woman as servant role” and these authors are just repeating what they know. However, we live in an age where contrary information (biographies of female leaders, studies of historical gender roles, especially women’s) is easily accessible if one looks, so the latter should no longer be an excuse. Actually, none of these should be valid excuses.

In a world where both boys and girls, adults and children can enjoy the exploits of a boy wizard called Harry Potter (written by woman), shouldn’t it be realistic to expect that as a woman, I can enjoy historical fiction written by a man without feeling the need to defend my entire gender afterwords?

I’m sure this does not represent all male historical fiction authors and that’s why I even brought it up. Please tell me in the comments if you’ve read and/or can recommend non-military historical fiction written by men that has some well-rounded female characters. I would love to be able to write a follow-up post declaring that I’ve found a few I like.

PS – I also realize some female authors are guilty of doing the same things with their characters. But I’ve been able to find plenty who aren’t, which has not been my experience with male authors.

Giving Away 35 Books for My 35th Birthday

I realized a few days ago that there are more books in my house than I have room for, thanks to my own book addiction and also to the advanced reading copies (ARCs) I get for reviewing for the Historical Novel Society.

In honor of my 35th birthday today, I’m giving away 35 books. I tried to group them into logical categories, so that means seven people will win packs of five books. Here’s what you could win:

Fantasy pack

Fantasy pack

Group 1: Fantasy

  1. The Falconer by Elizabeth May
  2. Dreams of Gods and Monsters (Book 3 of a trilogy) by Laini Taylor (personalized to me, but autographed)
  3. Netherworld by Lisa Morton
  4. The Water Witch (Fairwick Chronicles #2) by Juliet Dark
  5. Longinus by Steven Maines (personalized to a stranger, but autographed)
Mystery pack

Mystery pack

Group 2: Mystery

  1. Jane and the Twelve Days of Christmas by Stephanie Barron (A Jane Austin mystery) (ARC)
  2. Murder and Mendelssohn by Kerry Greenwood (A Phryne Fisher mystery)
  3. The Prioress’ Tale by Margaret Frazer
  4. Never Let Me Go by Kazuo Ishigurd
  5. Heat Wave by Richard Castle (audio book)
Chick lit/romance pack

Chick lit/romance pack

Group 3: Chick Lit/Romance

  1. Living Single by Holly Chamberlin
  2. Once Upon a Kiss by Jayne Fresina (ARC)
  3. How to Lose a Duke in Ten Days by Laura Lee Guhrke
  4. The Quilted Hearts Omnibus by Mona Hodgson
  5. Cocktails for Three by Madeleine Wickham
Historical Fiction Pack 1

Historical Fiction Pack 1

Group 4: Historical Fiction (Group 1)

  1. Boudicca: Dreaming the Eagle by Manda Scott
  2. The Winter King by Bernard Cornwell
  3. Perfiditas by Allison Morton
  4. The Amber Treasure by Richard Denning
  5. The Secret History by Stephanie Thornton
Historical Fiction Pack 2

Historical Fiction Pack 2

Group 5: Historical Fiction (Group 2)

  1. Mary Called Magdalene by Margaret George
  2. The Memoirs of Cleopatra by Margaret George
  3. Snow Flower and the Secret Fan by Lisa See
  4. Lionheart by Sharon Kay Penman
  5. The Lady and the Unicorn by Tracy Chevalier
Historical Fiction Pack 3

Historical Fiction Pack 3

Group 6: Historical Fiction (Group 3)

  1. The Virgin’s Lover by Phillippa Gregory
  2. The Pillars of the Earth by Ken Follett
  3. The Birth of Venus by Sarah Dunant
  4. The King’s Daughter by Barbra Kyle
  5. Innocent Traitor by Alison Weir
Non-fiction Pack

Non-fiction Pack

Group 7: Non-Fiction

  1. The Druids by Ronald Hutton
  2. The Mysteries of Avalon by August Hunt
  3. The Celts by Jean Markale
  4. Christianity and Paganism in the 4th – 8th Centuries by Ramsey MacMullen
  5. The Rise of Western Christendom by Peter Brown

Some of these books are brand new, some are gently used only by me, and some came from book fairs but are in good condition. All you have to do to win one group is complete the Rafflecopter link. (You’ll tell me your order of preference of the groups in the comments below, but you have to use the Rafflecopter for your entry to count.) There are more ways to get additional entries there, too. I’m keeping the contest open for a week, so you have plenty of time to enter. I’ll announce winners here sometime after September 3. Good luck!

PS – My goal is to be able to give away my own books next year!

Click here to enter Rafflecopter giveaway

Guest Post: Fiction: Making History

A proper woman may have sat quietly in her rocker, but many, like suffragist Alice Paul preferred to live life a little more loudly. (Image by Edmonston, Washington, D. C. [Public domain], via Wikimedia Commons)

A proper woman may have sat quietly in her rocker, but many, like suffragist Alice Paul preferred to live life a little more loudly. (Image by Edmonston, Washington, D. C. [Public domain], via Wikimedia Commons)

Please welcome today’s guest author, Lisa Borja. She is a woman after my own heart, who seeks out opportunities to restore women to their rightful place in history. Lisa, thank you for being here!

I’ve spent most of my life hating history. In my high school and college, history classes were all about the power of men. They filled every page, from “our founding fathers” in the U.S., to celebrated military generals, to brilliant scientists and inventors throughout the world. Women, meanwhile, were placed here and there in their bonnets and plain dresses, sewing flags, tending children, nursing soldiers, or standing behind their male counterparts.

So how does a post-Gloria-Steinem teenage girl relate? Years passed before I discovered history wasn’t all about men or only about women who were off (or seated quietly upon) their rockers. It wasn’t even entirely taught in school. I simply needed to look to different sources. The best source for me, and the most interesting by far, is historical fiction. I know these novels are rarely the most popular books out there. And I know, at first, it doesn’t sound like people can learn much history through fiction. Surely the truth has been sensationalized, amended, or stretched too far? And anyway, do I even want to learn when I’m reading for fun?

While it is true that some stories are not well-researched and that fiction readers mainly want to be entertained, not schooled, I stand by my creed that more people should read and write historical fiction – especially more women, specifically ABOUT women. Historical fiction books have done a great job overall in accentuating women’s roles in history as powerful and important. I actually read it for fun, but there’s more to it than that. When I read something, even a novel, I want it to make me think. All I could do while reading academic history was wonder how many talented women in the past could have “made history” if given the opportunity. The answer to that is something we can only guess. A better answer is: we should guess.

 “Well behaved women rarely make history.” I used to see this bumper sticker everywhere. Maybe it’s just me, but the notion that women had to misbehave to get noticed is not empowering. It’s not that there weren’t many successful women in the past. They were there, and not always clad in skirts below their ankles straightening men’s ties and raising perfect children. I learned in school about a few women who were outstanding female leaders like Cleopatra and Joan of Arc, activists like Harriet Tubman and Mother Theresa, outlaws like Calamity Jane, outspoken first ladies like Mary Todd Lincoln, and various other women writers and artists. But did you, like me, ever get the feeling these women were depicted as unusual rule-breakers who were probably a little crazy?

“We can do it.” Now there’s a slogan I can get behind! We can, in a way, go back and give women the opportunities – possibly even just a spotlight – they didn’t have or haven’t yet been given. As women who read and/or write it, we can give ourselves more to believe in. What makes us think our history books are full of accurate, unbiased truth anyway?  

I love to create a powerful female protagonist, so I gain more benefit from writing historical fiction than reading it. I have found no end to inspiration for creating her world from an already-existing cast of memorable historical characters (or character-types), mind-blowing challenges real people faced (not just women), and fascinating events that actually shaped our society. Through hours upon hours of ravenous study, I’ve also become somewhat of an expert in my research area of the Victorian and Spiritualist Eras. Well, if I’m not an expert, then at least friends tell me I’m a lot more fun at social gatherings and way more helpful on trivia night at the bar.

Prehistory. The love of historical fiction can start with something simple. For me, it started with books I didn’t even think of as historical fiction: namely The Clan of the Cavebear, by Jean M. Auel. This series is an excellent example, set in an era the author somehow researched exhaustively, despite its occurrence before recorded history. I loved Ayla, the heroine, who was depicted not only as influential and admirable but also as the inventor of some serious game-changers, from holistic medicine to domesticated animals to the use of soap for personal hygiene. No one really knows for sure where such ideas were first implemented, but doesn’t it just make sense that it would be a woman?

Art History. Another highly inspiring, similarly fictional character for me was Griet, otherwise known as The Girl With the Pearl Earring.Before I read Tracy Chevalier’s book, I didn’t even know I needed a different perspective on the male-dominated world of art history. No offense to former teachers, but my high school and college classes tended to celebrate visual art with very little attention to the often debatable accuracy of its social context. For example, if I had known Vermeer was probably kind of an ass, I’m certain I would have admired his work less. When I realized that some famous male artists may have had a talented woman like Griet assisting them, possibly even doing work for which they got all the credit, I was really depressed.

What got me over it was discovering the chance I had at rewriting history. Sort of. Okay, if not rewriting it, then at least reading what someone has written about our previous notions of what “really” happened, looking at some additional sources, and writing an alternative that could be just as believable. It is fun to read a fast-paced political thriller based on nothing in particular, or a romance or adventure that takes us to places we don’t get to be in daily life. But historical fiction can encompass all of those things, and add instant, real-world knowledge.

And the rest is . . . For me, reading historical fiction has been life-changing. Ultimately it’s because of the inspiration I’ve felt to write, but it’s also life-changing because I feel like I’ve gained a backstage pass to the roles and lives of women throughout history in events that have caused this world, and my life, truly to be changed for the better. If you’re like me, you just might like yourself and the world more if you choose a fun little read with a bit more research and unlimited inspiration from your very own, very real world.  You, too, could shout out more answers during Jeopardy. You, too, might have more to write about than you ever had before. You, too, can make history.

———–

Lisa BorjaLisa Borja is a writer with a background in psychology that extends to parapsychology and exploration of psychic phenomena. A new historian of Victorian America and Spiritualism, member of the Society for Psychical Research, and explorer of the development of psychic ability, Borja recently left her own Midwestern roots and followed the many signs pointing her in the direction of the Pacific Northwest. She lives in Oregon with her husband, dogs, and 25-pound cat, and can be found writing on TheSpiritWritings.com.

If you have any questions/comments for Lisa, please leave them in the comments below and she will respond.

Lessons in Creative Writing from Deborah Harkness – Part 2

Deb during one of our classes

Deb during one of our classes

This is the second in a series of posts sharing what I learned from author Deb Harkness during a week-long Master Class at Hedgebrook. Here’s part 1 in case you missed it.

Having learned our fill on character, our lesson for day 2 was on plot and history. A lot of people find plotting overwhelming, but as Deb said, “all we’re doing [with plot] is taking a person from point A to point B.”

How History and Plot Work Together
The elements of a historical narrative are the same as the story historians construct about the evidence they have found. We tend to think of history as what really happened, but a lot of times we just can’t know, even with a lot of evidence. Many times the evidence, even eyewitness testimony, is contradictory.

That’s why historians look at evidence and then go back later and construct a narrative to tell a particular story. Like historical fiction writers, they end up leaving 99% of what they’ve learned off the page. It may sound like they aren’t being true if that’s the case, but if they included it all the book would be overwhelmingly lengthy and boring. They, like fiction writers, have to stick to a central point or purpose and only radiate out so far from that, and only when doing so enriches the overall point they are trying to make.

Genre and Plot
There are tons of traditional plot models out there, but Deb told us none of her books follow any of them. She believes that is a perfectly valid choice for an author to make. (Honestly, my books don’t either.) We explored the traditional three act structure, the hero’s journey (often used in fantasy) and a basic plot structure and talked about how they are alike and how they differ. (By the way, the images I’m linking to here are the exact ones Deb gave us as handouts, so you can pretend like you were there with us.) It’s a good idea to at least familiarize yourself with the elements of these and other models so that you know the basics of what’s expected from a story, even if yours doesn’t fit neatly into one of them.

Deb doesn’t define herself as a genre author. This means she writes broader fiction that doesn’t fit into a category like mystery, paranormal, romance, etc. However, many writers, myself included, do choose to write within a given genre. It’s important to note that different genres have different expectations. As an author you have three choices:

  1. Work within your genre – All genres have expected conventions, word limits/page expectations. (For example, romance has very particular word counts and expectations of what has to happen by a certain page. Thrillers are also known for having strong pacing expectations.)
  2. Work outside of genre – This is what Deb does. It tends to give you more freedom in length and what you can and can’t do, but it can also be difficult for agents and publishers to classify when it comes time to sell it.
  3. Work against genre – In order to do this, you need to know the rules of the genre well. After all, you can’t break rules (well) you don’t know or understand. And if you break them badly, you won’t have a story people want to read.

History defines the outer limits of where you can go in historical fiction. Within in historical fiction, your sub-genre (fantasy, romance, mystery, thriller, etc.) constrains the genre. In other words, if you’re writing historical fantasy (as I do), you’re still subject to the general rules of fantasy writing; you just happen to be setting your fantasy in another time period.

Bringing History into Your Plot
Deb made the very interesting point that very few people are participants in historical events, but history still affects each one of us. There are three main ways we interact with history:

  1. History that is going on around you that shapes what you eat, wear, etc. – This affects everyone. For example, if I was setting a book in pre-Roman Britain, my Celts would likely not eat onions or celery because the Romans brought those to Britain. However, because my Arthur and Guinevere live after the Roman invasion, it’s logical they could eat those things.
  2. History you are a direct participant in  –  Fewer people will be part of a battle or other significant event. This could be due to their station in life, or they might just happen to live where something of import takes place and get caught up in it. For example, because they are rulers, both Arthur and Guinevere are active participants in the historical battle of Mount Badon.
  3. Doing historical things – Deb gave the examples of being a blacksmith, riding side saddle or teaching in a one room schoolhouse. These are things that you wouldn’t really know are historic while you are doing them. It’s only by looking back through history that we can define them as historic. For example, Guinevere is a Druid priestess. To her, that is a natural part of her religion. Only to us, 1,500 years later, is this considered historical.

This is a continuum. Characters can move on it and different characters can be in different categories at the same time as one another. So your main characters might be doing historic things or being directly involved in historic events, while your secondary characters are only doing historic things. Or your main character may always be doing historic things, but those historic things might change in the course of the book as the history that is going on around him or her affects his/her life.

We all know this, but it bears repeating, especially in the context of historical fiction: history for history’s sake is boring. You may be impressed by what you know, but you will lose the story and your readers if you include all of it. (This is why I started this blog, so that I had something to do with all that extra knowledge and didn’t feel like it was going to waste if it didn’t end up on the page.) Pick the historical things that allow your character to work within your plot. History is a pot of resources you can dip into to find something that makes your characters work i.e. show something about a relationship, help in character development. It shouldn’t be there just because you learned it.

Story Openings and Other Various Tips
As any writer will tell you, knowing where is the best place to begin your story is very difficult. As writers, we often have to “write our way” into the novel and so where we started writing isn’t necessarily the best place to actually begin the book. Deb’s suggestion for finding the elusive “inciting incident” is to find the moment where everything changes for your character and start there. As she said, “It’s like sinking an anchor for yourself and the reader.”

Deb’s tip: Look at your WIP and start reading at page 151. What before that is truly necessary and what is you writing to get to where you need to be? Delete anything that isn’t absolutely essential.

Trivia: Deb told us that A Discovery of Witches originally had a lot more of Diana at the library at the beginning, but she cut it because nothing was happening.

Other tips:

  • Create a file or a book for yourself that is your “bible” with all the information about your characters, plot, and references so you can easily refer back while writing and editing.
  • If you’re going to use something extraordinary like time travel, magic or reincarnation in your story it has to have a reason beyond you wanting to do it. It has to add something to the story.
  • Letting information out slowly over time is always better than a dream, flashback or other contrived tool.

Next week: What Deb taught us about setting.

What do you think about Deb’s advice on plot and history? Writers, what tips do you have? What’s worked for you? Readers, what do you like the best in the plots of the books you read? What annoys you?