I am over-the-moon excited! I’m finally a hybrid author! This has been a long time coming and I am so excited to write these books. Here’s a little more about them:
Obviously, not the real cover.
Sex and the City: A Cultural History This book will provide cultural context and analysis of the famous show, both how it affected cultural as it aired and also how it looks now 20+ years later. Some topics include:
Looking at what it means to relate to each of the girls (ala, Are you a Carrie? A Samantha? A Miranda? A Charlotte?)
What the men in the show illustrate about masculinity and what that means about the kinds of men women are attracted to.
Issues like diversity or lack thereof, treatment of sex and sexuality, LGBTQIA portrayal.
How the show made New York a character, built brands, influenced fashion and reflected third wave feminism.
And a lot more!
I have an end of year deadline, so hopefully the book will come out around the time the reboot, And Just Like That, airs.
Fierce Females in Television: A Cultural History
Thank God, not the real cover!
This book will briefly discuss the nature of physically strong women on TV from the 1950s-1980s, but will focus specifically on the 1990s to today because that is when we saw a major ramp up in the portrayal of these kinds of women.
Shows covered include: Xena: Warrior Princess (1995-2001), Buffy the Vampire Slayer (1997-2003), Charmed (1998-2006), Alias (2001-2006), Nikita (2010-2013), Agent Carter (2015-2016), Jessica Jones (2015-2019), Game of Thrones (2011-2019), and Homeland (2011-2020).
Some of the topics include:
An analysis of the main female characters on each show.
The meaning of female strength and friendships/family.
The influence of third- and fourth-wave feminism on the shows and their characters.
Treatment of sex and diversity.
The role of redemption narratives and change in female lives.
This book will be out sometime in 2023/24.
Between these, the League of Women Voters book (due Oct. 4) and at least one work of historical fiction, you know what my next few months and even my 2022 will look like!
(While I’m busy working on two books I’m finding it difficult to find time to blog, so I’m going to repost some of my favorite posts from Spellbound Scribes, the group blog I contribute to once a month. Warning: I am SUPER opinionated. This one was written less than a week ago.)
For years now, nay decades, historians and historical fiction authors have had a tenuous relationship. Well, from my perspective, it’s the historians who have their noses out of joint; most historical fiction authors, myself included, just want to write our books.
You see, some (not all, mind you) historians see us fiction writers as encroaching on their territory and doing it a disservice. I think with the word “fiction” in our genre and “a novel” written on most of our book covers, that is just silliness. I also think the reader has to take some responsibility for understanding the difference, but perhaps I am giving people too much credit. Tudor historian John Guy found that after Hilary Mantel’s Wolf Hall series was published many of his current and prospective students took what they read as fact. His complaint? “The writing was so good that some people think it is true.”*
Because we are writing a (hopefully entertaining) story in addition to providing historical facts, historical novelists sometimes have to or choose to bend those facts or go outside of the historical record. One thing many of us do to make up for this is include an Author’s Note at the end of our books. In this section, which for some is only a few paragraphs, but for others can be quite lengthy and detailed, *cough*me*cough,* we explain what is true and what is not and why we changed things when we did. Other authors provide additional historical information on their websites or in their blogs. Some even include a bibliography or a brief list of sources at the back.
Ironically, it is Hilary Mantel herself, a historical fiction author who is NOT a historian, who rails loudest against this practice. She’s fine with including an Author’s Note (which she does in her own books), but draws the line at a bibliography. At the Oxford Literary Festival in 2017 she accused historical novelists of “try[ing] to burnish their credentials by affixing a bibliography.”**
[cue eye roll]
No, Dame Mantel, that is not what we are trying to do. We are trying to show that we’ve done our due diligence in making our books as historically accurate as we can. We’re trying to raise the respectability of our genre, which, not that long ago was conflated with period costume bodice-rippers that were rightfully called mere escapism. (Remind me to write a post on the history of historical fiction sometime.) But since that time, the genre has come a long way in building credibility with readers and critics and today’s authors are much more concerned with portraying time periods and places correctly, as our source lists show.
In addition, we’re providing a list of sources for those who wish to learn more or want to fact-check the book. As a reader, I LOVE the Author’s Note and am sorely disappointed if there isn’t one or little effort was put into it. As a writer, I have looked at the bibliographies of other historical fiction writers in my time period to get a sense if I am going in the right direction in my own research. These pages at the end of books serve very important purposes that cannot and should not be dismissed out of hand.
We are in no way pretending to be what we are not. Most historical novelists will freely admit to not having a PhD if that is the case. And there are a few who do have one (such as Alison Weir and Anne Fortier), so does that give them the right to include a bibliography in their books while the rest of us can’t? If that is the case, that is elitism, pure and simple. Many of us are self-taught researchers or may have been trained through courses of study besides history (English or law, perhaps) but that doesn’t mean our research is automatically of lower quality and undeserving of being documented.
It would be far worse if historical novelists a) didn’t bother to do proper research and/or b) left readers to their own devices to figure out what is true. Then you really would have historical confusion.
I could be completely wrong, but it feels like opinions like this stem from two things: an old-world us vs. them snobbery in which we novelists are seen as on a far lower plane than professors of history, and a feeling of being threatened because the average reader is more likely to read a historical fiction novel than an academic work of history.
As an author who has written both and plans to eventually get her PhD in history, I will say there is no reason for historians to feel threatened. They do what they do and we do what we do. Each has our own audience and when there is crossover, it benefits us both. But we cannot shoulder the responsibility for how our readers interpret our work alone. If they want to believe it is true all we can do is warn them it’s not and direct them to books by historians to find out what really happened–that is exactly what the bibliographies found in our books do!
I think the idea that historians somehow sit on a loftier pedestal than historical authors is a function of the insular nature of academia and will hopefully (eventually) burn itself out. It is this misguided attitude that makes it somehow okay for someone who started out as a historian to later go into historical fiction, but not for a historical novelist who lacks a PhD to ask to be taken seriously. Unless historical novelists start claiming that their books are the truth–rather than influenced by the truth–(as best that historians can interpret it; it can be argued that all of history is fiction as it is written by the victors and is often revised by memory, time and author prejudice) there is no need for us vs. them. We are both working toward the same purpose: educating a public that increasingly doesn’t give a fig about history. We just go about it in different ways.
And as for me, you can pry my bibliography (fiction or non-fiction) out of my cold, dead hands.
This award has been two years in the making since I just barely missed the deadline for entries to last year’s awards. But it was worth the wait.
I have spoken with two of the Story Circle awards coordinators and what really got me was how much they appreciated the research that went into this book. Finally, someone understood why I wrote it. So many people seem to think the book was somehow done incorrectly because I don’t posit a lot of new information or advance a groundbreaking theory. That was never the point; the point was to gather into one volume what others have said about Guinevere and show how that fits the idea of Guinevere changing as a character as society’s views of women changed over time.
I have to say that knowing that someone understands it gives me a lot more confidence going into speaking about Guinevere at the Symposium on Medieval and Renaissance Studies in June! As part of being a winner, I will also have the opportunity to present at the Story Circle conference next year. I’m seriously thinking about it.
The awards are sponsored by the Story Circle Network, an international nonprofit community of women writers. The program is named in honor of May Sarton, who is remembered for her outstanding contributions to women’s literature as a memoirist, novelist, and poet. The awards are given annually to women authors writing chiefly about women in memoir, biography and fiction published in the United States and Canada and selected from works submitted. The awards are limited to submissions published by small/independent publishers, university presses, and author-publishers (self-publishing authors). The judging is conducted in two rounds. Professional librarians not affiliated with SCN select the winner and finalists.
The Once and Future Queen will be out in November (exact date TBD). I’m thrilled to share the cover and back page copy with you! Depending on when I know the publication date, I may or may not do pre-orders. I’ll let you know at that time.
I hope you are as excited for this book as I am!
Guinevere’s journey from literary sinner to feminist icon
took over one thousand years…and it’s not over yet.
Literature tells us painfully little about Guinevere, mostly focusing on her sin and betrayal of Arthur and Camelot. As a result, she is often seen as a one-dimensional character. But there is more to her story. By examining popular works of more than 20 authors over the last one thousand years, The Once and Future Queen shows how Guinevere reflects attitudes toward women during the time in which her story was written, changing to suit the expectations of her audience. Beginning in Celtic times and continuing through the present day, this book synthesizes academic criticism and popular opinion into a highly readable, approachable work that fills a gap in Arthurian material available to the general public.
Nicole Evelina has spent more than 15 years studying Arthurian legend. She is also a feminist known for her fictional portrayals of strong historical and legendary women, including Guinevere. Now, she combines these two passions to examine the effect of changing times and attitudes on the character of Guinevere in a must-read book for Arthurian enthusiasts of every knowledge level.
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 thirdpanel 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.
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.
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:
Group 1: Fantasy
The Falconer by Elizabeth May
Dreams of Gods and Monsters (Book 3 of a trilogy) by Laini Taylor (personalized to me, but autographed)
Netherworld by Lisa Morton
The Water Witch (Fairwick Chronicles #2) by Juliet Dark
Longinus by Steven Maines (personalized to a stranger, but autographed)
Group 2: Mystery
Jane and the Twelve Days of Christmas by Stephanie Barron (A Jane Austin mystery) (ARC)
Murder and Mendelssohn by Kerry Greenwood (A Phryne Fisher mystery)
The Prioress’ Tale by Margaret Frazer
Never Let Me Go by Kazuo Ishigurd
Heat Wave by Richard Castle (audio book)
Chick lit/romance pack
Group 3: Chick Lit/Romance
Living Single by Holly Chamberlin
Once Upon a Kiss by Jayne Fresina (ARC)
How to Lose a Duke in Ten Days by Laura Lee Guhrke
The Quilted Hearts Omnibus by Mona Hodgson
Cocktails for Three by Madeleine Wickham
Historical Fiction Pack 1
Group 4: Historical Fiction (Group 1)
Boudicca: Dreaming the Eagle by Manda Scott
The Winter King by Bernard Cornwell
Perfiditas by Allison Morton
The Amber Treasure by Richard Denning
The Secret History by Stephanie Thornton
Historical Fiction Pack 2
Group 5: Historical Fiction (Group 2)
Mary Called Magdalene by Margaret George
The Memoirs of Cleopatra by Margaret George
Snow Flower and the Secret Fan by Lisa See
Lionheart by Sharon Kay Penman
The Lady and the Unicorn by Tracy Chevalier
Historical Fiction Pack 3
Group 6: Historical Fiction (Group 3)
The Virgin’s Lover by Phillippa Gregory
The Pillars of the Earth by Ken Follett
The Birth of Venus by Sarah Dunant
The King’s Daughter by Barbra Kyle
Innocent Traitor by Alison Weir
Group 7: Non-Fiction
The Druids by Ronald Hutton
The Mysteries of Avalon by August Hunt
The Celts by Jean Markale
Christianity and Paganism in the 4th – 8th Centuries by Ramsey MacMullen
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!