Reviewing The Lord of Ireland

In late 2012 I read the first novel in The Fifth Knight series and I’ve been hooked ever since. So I was delighted to receive a request to review The Lord of Ireland, the third book in the series, when it was released recently.

Lord of Ireland coverHere’s how the publisher, Thomas & Mercer, describes the novel: “England, 1185. John is a prince without prospect of a crown. As the youngest son of Henry II, he has long borne the hated nickname ‘Lackland’. When warring tribes and an ambitious Anglo-Norman lord threaten Henry’s reign in Ireland, John believes his time has finally come. Henry is dispatching him there with a mighty force to impose order.

Yet it is a thwarted young man who arrives on the troubled isle. John has not been granted its kingship—he is merely the Lord of Ireland, destined never to escape his father’s shadow. Unknown to John, Henry has also sent his right-hand man, Sir Benedict Palmer, to root out the traitors he fears are working to steal the land from him.

But Palmer is horrified when John disregards Henry’s orders and embarks on a campaign of bloodshed that could destroy the kingdom. Now Palmer has to battle the increasingly powerful Lord of Ireland. Power, in John’s hands, is a murderous force—and he is only just beginning to wield it.”

Like the previous novels, this book is a fast-paced historical thriller. It opens almost a decade after the second book, The Blood of the Fifth Knight, ended. The Palmers have settled on their own estate and are working hard to run it, glad to be free of the intrigues and dangers of Royal Court life that they have experienced in the past. Their children are almost grown and they have everything they want from life. So the summons Sir Benedict receives from King Henry II to accompany his son, Prince John, to Ireland on his campaign to quell the unrest there turns their lives on end. Built around Prince John’s first campaign in Ireland, a lesser-known chapter in his life, the plot is gripping and convincing. The author imagines details about people and events beyond the historical accounts to create scenes that are action-packed and fraught with political tensions and intrigues.

But the heart of the Fifth Knight books is the characters. The author is adept at portraying the emotional and physical humanity of characters from an age that held values and beliefs vastly different from modern society, making it easy for readers to empathise with them. Sir Benedict is still the honourable knight readers have come to know, now challenged by the physical limitations aging imposes. His wife, Theodosia, is still courageous and fiercely loyal to her husband and her family. I particularly enjoyed the author’s humorous portrayal of the historical figure, the royal clerk, Gerald of Wales as rather snivelling and cowardly. Some other memorable characters include arrogant and lustful Prince John, intelligent and cunning Hugh de Lacy and his proud, valiant Irish wife.

The author’s thorough knowledge of medieval life pulls everything together to vividly evoke for the reader the world in which the story is set. Although I’m not an avid fan of medieval fiction, EM Powell’s novels always draw me into the era. I thoroughly enjoyed this story and can recommend it to anyone who likes an exciting story, peopled by characters that seem to live and breathe.

For more information about the author and the series, visit E.M. Powell’s website and blog. Readers can also find her on Facebook, Twitter, and Goodreads. The novel is available on Amazon and other retailers.

EM PowellAbout E.M. Powell: E.M. Powell’s medieval thrillers The Fifth Knight and The Blood of the Fifth Knight have been number-one Amazon bestsellers and on the Bild bestseller list in Germany.

Born into the family of Michael Collins (the legendary revolutionary and founder of the Irish Free State) and raised in the Republic of Ireland, she lives in north-west England with her husband, daughter and a Facebook-friendly dog.

She reviews fiction and non-fiction for the Historical Novel Society, blogs for English Historical Fiction Authors and is a contributing editor to International Thriller Writers’ The Big Thrill magazine.

Posted in June 2016 | Tagged , , , , , , , , , | Leave a comment

The Season Turns, Time To Reflect

It’s the Solstice today – summer if you’re in the northern bathtubhemisphere, winter for those in the southern hemisphere. It’s more or less, half way through the year.

Did you start the year full of plans and dreams of what you would accomplish before 2017 arrives? Most of us begin each year ready to tackle it head on. We have so many things we will to do in the next twelve months. So, it might shock or dishearten us if we stop and look back at what we’ve achieved (or more likely haven’t achieved) so far.

On Writers Abroad I’ve been giving my fellow writers a Solstice Pep Talk about how to get back on track before the year flies past. While it’s aimed at my writer friends, the principles are the same no matter what you want to do this year. If you’d like to read the post, pop over to my post on Writers Abroad. It’s here.

Posted in June 2016 | Tagged , , , , | Leave a comment

The Dying To Be Beautiful Mysteries

Today I’m featuring an excerpt from the first book in the Dying To Be Beautiful mystery series by M. Glenda Rosen. Throughout June, Glenda is offering the first two books in the series at a special reduced price.

About the series: Dying To Be Beautiful, is about the billion dollar world of beauty. The mystery series takes place in The Hamptons, where the murdered and suspected murderers are often arrogant and obnoxious with a sense of entitlement. Private Investigator Jenna Preston and her longtime friend, Detective Troy Johnson, work together to solve these murders and other crimes.

Excerpt from Book 1, Without A Head:

Chapter 1

The Murder

Saturday, 6:10 A.M.

9781483445304_COVER.inddAs a Private Investigator, Jenna Preston had been hired to help solve murders, insurance fraud, cheating spouses and more. This was a new one for her.

She received what could only be described as a hysterical call from Darcy Monroe, owner of a popular, upscale hair salon in The Hamptons.

A head without its body was rolling around in one of her shampoo basins.

Almost five-feet, five-inches tall, always looking taller in her two or three-inch heels, Jenna had long red hair, blue eyes and was often seen driving around the East End in a white jeep, and in recent years, with her Irish Setter sitting next to her.

As a well-respected private investigator in the area, she told the salon owner, “I’ll be right there, and don’t touch anything until the police arrive.”

Jenna knew they needed to secure the business as a crime scene and Coroner Doc Bishop and Head of Forensics Lara Stern had to be brought in as well.

“Troy, someone left a head, without the body, in a shampoo bowl at Darcy’s Salon. I’ll be there in about ten minutes.”

”Damn it, Jenna, I nearly spilled my coffee listening to this bizarre message. I’ll be there within the half hour. Meantime, I’ll ask Lara to get over there to check the crime scene for prints and other possible evidence and for Doc to arrange to bring the head to the morgue. We’ll want to look at it there, after he’s had a chance to determine how it was cut off and anything else he might find.”

Detective Johnson hung up.

He and Jenna had worked together and known each other for a long time. They clearly trusted each other. He knew she would follow police protocol at the crime scene.

Saturday, as always was an exceptionally busy day, “in season” at Darcy’s Salon, which is why she had gotten there so early. She always wanted the salon looking perfect, ready for stylists and clients, who this day had appointments beginning at 7 am.

Located off the main avenue of this posh resort at the East End of Long Island, less than ninety miles from Manhattan, the salon was known for catering to the rich and famous, as well as some of wanna-be customers, primping for weekend parties and fundraising events.

The salon was truly beautiful with warm color tones and soft matching leather client chairs facing gold (well, fake gold), trimmed mirrors. There was a reception area with the latest issues of fashion magazines from Paris and Rome, and a few of the more popular Hampton rags, like Dan’s Papers were spread out on a marble table, next to it a coffee machine offering gourmet flavored coffee and teas.

Most of the women who came to Darcy’s Salon had plenty of money, some from their own success, although others were arm candy for much older, wealthy men. Sometimes one of them would joke (maybe not) that they were “Dying To Be Beautiful” like some of the famous models and celebrities, many of who summered in the Hamptons.

9781483449159_COVER.indd“Jenna, you’ve seen how difficult and fussy they can be, and their egos—they’re constantly seeking confirmation of how beautiful they look. They want to come to a high-end salon, expecting to be treated like royalty. And believe me, we do.”

Darcy Monroe was only too glad to charge megabucks for her services since it included a whole lot of catering to their whims and demands. Beauty could indeed be expensive in The Hamptons. The chatter amongst the clients, the eight hair stylists, three manicurists and several assistants meant gossip was a basic ingredient of conversation. The story about the body without a head, and the head found in the salon, was sure to explode through The Hamptons. It certainly had all the elements of a soap opera.

“My god, Jenna, the gossip about this mess is going to be like a volcano spilling over this town.”

Readers can learn more about Glenda by visiting her website, as well as her Facebook and Goodreads pages and following her on Twitter.

The books are available on Amazon and other online retailers.

Dying Beautiful authorAbout M. Glenda Rosen: She  is the author of The Woman’s Business Therapist: Eliminate the MindBlocks and RoadBlocks to Success, and award-winning My Memoir Workbook. For over fifteen years, she helped numerous authors develop and market their books, and presented writing programs in New York, The Hamptons, New Mexico and Carmel, California, on “Encouraging and Supporting the Writer Within You!” She’s the founder and owner of a successful marketing and public relations agency for twenty-five years.

 

Posted in June 2016 | Tagged , , , , | 3 Comments

Peering Into The Gilded Cage

Today Judy Alter is joining me to tell us a bit about her novel, The Gilded Cage.

Welcome Judy. Let’s get started, shall we?

Tell us about your novel.

Gilded Cage coverJA: Against the background of Chicago history in the last half of the 19th century, The Gilded Cage tells the story of Potter and Bertha (Cissy) Honoré Palmer. He was a prominent businessman and builder of the city, owner of the still-operating Palmer House Hotel; she was one of the first socialites to believe that wealth carried an obligation to philanthropy and to put her belief into actions beyond monetary donations. Her greatest accomplishment came as president of the Board of Lady Managers at the 1893 Columbian Exposition.

What prompted you to write about this historical era or event?

JA: As a young child growing up on Chicago’s South Side in the Hyde Park neighborhood, I wandered the land that once boasted the World’s Columbian Exposition. My mother took me out in rowboats around Wooded Island, and I learned to ice skate on the Midway, which still cuts a swath of green through the city for more than a mile west from the lakeshore. My friends and I made countless trips to the Museum of Science and Industry, the only exposition building that survives. Much later, I attended the University of Chicago, which sits almost on the exposition grounds. That part of the city was “my” Chicago. Then, somehow, I stumbled on the story of Cissy Palmer and was intrigued. I decided her story would make a good novel, and I simply combined the two interests—the city and the character.

How closely did you stick to the historical facts? If you used them loosely, how did you decide whether to deviate from them?

JA: I stuck pretty closely to historical fact—certainly the major events such as the Great Fire, the Haymarket Riot, the Columbian Exposition. But I took liberties with the stories of the individual characters, which I think is inevitable in historical fiction. There is for instance a romantic attraction which I’m quite sure never happened, and the villain or bad guy is wholly a product of my imagination. But I did a lot of research for this book and really tried to get the history correct. You might say the city is one of the characters in the book.

As many storytellers will say, characters can take over a book and dictate the course of the action. That’s what happened here, especially in the case of the forbidden attraction. I really tried, though, not to let the characters dabble with history.

What research did you do for this book?

JA: The Author’s Note contains a bibliographic essay detailing the works I consulted. But I also relied on my knowledge of the city and its history, my memory of my childhood there, and my own reaction to the setting—for instance my fascination with Lake Michigan when it’s at its wildest best.

Do you use a mixture of historic figures and invented characters in the novel. Which is more difficult to write? Which to you prefer to write and why?

JA: Most of the major characters are historic, though not in their pure form. I did invent a couple—principally the bad guy—black sheep of a proper New England family. He thinks the world is against him and eventually blames his “bad luck” on Potter Palmer. His wife is also an invention, an Irish girl who works in a pub. They provide a contrast to the Palmers.

I suppose invented characters are a bit easier to write because you have free rein to give them characteristics and attitudes, whereas with real figures you feel a bit like you’re tampering with someone’s life.

In an historical novel you must vividly re-create a place and people in a bygone era. How did you bring the place and people you are writing about to life?

JA: The place was easy because it’s a place I know and remember well. All I had to do was recreate what I saw in my mind. As for people, I’ve never had a problem putting myself in someone’s head and seeing the world the way they do—or as I think they do. I’ve written several other books set in the late nineteenth century, so the era wasn’t a problem either. This novel is a bit unusual for me in that it’s in third person—I often tell the story from the first-person point of view which really makes me see and experience the world the way my character does.

But the characters, to repeat, in a sense told me what they saw and felt. They took over the story, telling me which way it would go. That makes the writing sound as easy as snapping your fingers, but that’s not the case. The book was written and rewritten, from several points of view, over a ten-year period.

There often seems to be more scope in historical novels for male characters rather than female characters. Do you prefer to write one sex or the other. And, if so, why?

JA: I suspect that larger scope is due to our lingering belief that men shaped history. Women’s roles are gradually being recognized though. I prefer to write about women, always have. I’ve done several novels about women who played a major role in the American West during that time period—Libby Custer, Jessie Benton Frémont, a cowgirl modelled on Lucillle Mulhall, and Etta Place, the Sundance Kid’s girlfriend. It’s a trendy thing to say these days but I identify as female, so it’s easier for me to see things from a female point of view. Hardest assignment I ever had was to write a chapter from the viewpoint of an escaping male slave in the South.

Thanks for answering my questions, Judy.

For more information about Judy, visit her website. Readers can also connect with her on Facebook, Twitter, Pinterest and Goodreads.

Gilded Cage authorAbout Judy Alter: She is the award winning author of fiction for adults and young adults. Other historical fiction includes Libbie, the story of Elizabeth Bacon (Mrs. George Armstrong) Custer; Jessie, the story of Jessie Benton Frémont and her explorer / miner / entrepreneur / soldier / politician husband; Cherokee Rose, a novel loosely based on the life of the first cowgirl roper to ride in Wild West shows; and Sundance, Butch and Me, the adventures of Etta Place and the Hole in the Wall Gang.

 

Posted in June 2016 | Tagged , , , , | Leave a comment

A Canadian Tale: Promised To The Crown

Today I’m welcoming Aimie K. Runyan to talk about her Canadian tale (well, New France, if you want to be strictly accurate), Promised to the Crown.

Welcome Aimee. Let’s get started, shall we?

Tell us about your novel.

Promised to the Crown coverAKR: Promised to the Crown tells the story of three very different women who chose to accept Louis XIV’s offer to travel to his colony in Canada, then known as New France, in order to choose husbands from among the legion of bachelor settlers. The King needs women to help increase the population to hold the colony from the British menace and to tie the men to the land. France was in a time of relative prosperity, yet 770 brave women answered the call to go to the frozen north. Elisabeth, Rose, and Nicole face hardships and triumph in the new world, and the friendship they forge on their crossing sees them through it all.

What prompted you to write about this historical event?

AKR: I am a sucker for little-known history, especially when it tells the story of women who have gone unappreciated for centuries. History has dismissed these King’s daughters, or filles du roi, as a footnote in history. The truth is that 2/3 of all French Canadians today can trace their lineage back to one or more of these remarkable women.

How closely did you stick to the historical facts? If you used them loosely, how did you decide whether to deviate from them?

AKR: I stuck to the details available—dates of crossings, legal precedents (no lawyers allowed! Strict regulations on bakers! All great plot fodder), diet, housing, and what experts can contrive about relationships and family hierarchies… all that made daily life come into vivid relief. The characters and their situations are mine. I took three characters and tried to show a broader picture of what life would have been like for these women and the options available to them in the new world. I didn’t want to tell just one woman’s story.

What research did you do for this book?

AKR: I lived in Canada for three months (not contiguous) on a research grant from the Quebec government when working on my thesis on female immigration to Canada. I knew I wanted to write this novel someday, so I hunted down a lot of extra research that wouldn’t fit into the paper—daily life type things—and socked them away until I had the chance to write my book. I visited monuments, museums, and churches. I wandered the streets of Old Quebec trying to memorize the ambiance. Not only did I find all the resources I needed, I fell in love with a new city!

Do you use a mixture of historic figures and invented characters in the novel. Which is more difficult to write? Which to you prefer to write and why?

AKR: There is only one historical figure in my book—Mother Marie de l’Incarnation who is present in one scene. Since my books aren’t really biographic, I prefer to create my own characters and throw the, in a historical context. It gives me more freedom to explore the story behind the history without worrying if Character X Y or Z would have been in the right place for a scene to happen. It was almost a necessity to work this way for Promised because so few personal records exist. I may deviate from that in the future, but for now that seems to be my wheelhouse.

In an historical novel you must vividly re-create a place and people in a bygone era. How did you bring the place and people you are writing about to life?

AKR: I had the chance to spend so much time in Canada breathing in the city, that it made the task much easier. I spent a lot of time visualizing the settings before I sat down to write a scene, and tried to convey that to the page. The people were harder. A modern reader would not have had much in common with a woman who lived 350 years ago. The 17th century woman would not have been just  a quaint version of the 21st century woman; she would have had a different outlook on virtually every aspect of life. Taking into consideration just one major difference in women’s lives is telling. Today’s new mother can almost be guaranteed of a safe delivery and a healthy child. The odds aren’t 100%, but they’re pretty darn good. A woman in the 17th century gave birth to a dozen children hoping two or three might live to reach adulthood. That reality alone would be enough to change a person’s whole frame of reference on life. I had to tap into aspects of these women’s personalities that made them relatable—education, experience, and ambition—just as a start.

There often seems to be more scope in historical novels for male characters rather than female characters. Do you prefer to write one sex or the other. And, if so, why?

AKR: If ‘men’s history’ has an advantage, it’s that it was always ‘front page news’. It has been what the history books have put down as the official record. The truth, however, is that ‘women’s history’ is just as rich (or even more so) than the accepted truths we learned in school. Sadly, the contributions of women at many times in history has been largely ignored. Women created the framework of our societies along with their husbands, fathers, and brothers, even if their work wasn’t always lauded on center stage. Women took advantage of the backchannels to evoke change and to influence men in power. There is a treasure trove of women’s stories that are yearning to be told, that deserve to be told for the historian willing to dig past the ‘headline news’.

I remember learning about les filles du roi in history classes at school so I found your answers to my questions fascinating, Aimee. I love it when all the details of history come to life in a story I can sink into. Thank you for taking the time to answer my questions.

For more information about Aimie, please visit her website. Readers can also find her on Facebook, Twitter, Pinterest, and Goodreads.

PromisedCrown_Aimie K. RunyanAbout Aimie K. Runyan: A member of the Rocky Mountain Fiction Writers and Women’s Fiction Writers Association, she has been an avid student of French and Francophone Studies for more than fifteen years. While working on her Master’s thesis on the brave women who helped found French Canada, she was fortunate enough to win a generous grant from the Quebec government to study onsite for three months, which enabled the detailed research necessary for her work. Aimie lives in Colorado with her husband and two children.

Posted in May 2016 | Tagged , , , , , , | Leave a comment

Conversing With Camelot’s Queen’s Author

Today Nicole Evelina joins me to talk about Camelot’s Queen, the second book in her Arthurian legend trilogy. Welcome, Nicole.

Let’s get started, shall we?

Tell us about your novel.

Camelot Queen coverNE: Camelot’s Queen is the second book of my Arthurian legend trilogy that tells Guinevere’s life story from her point of view. This one focuses on the story we think we all know – Guinevere’s time as queen. (Her early life before King Arthur is told in Daughter of Destiny, the first book in the series.) All the familiar elements are there – the battles, the infamous affair, the Holy Grail – but they are told in a way that’s different from the medieval legends we’re familiar with. Guinevere is a battle queen who rules side-by-side with Arthur, rather than being in his shadow; her affair with Lancelot doesn’t happen simply out of lust – it’s actually Arthur’s fault; and the Grail is different than you’ve ever seen it. Plus, Morgan is a disrupting influence in a way I don’t think any other author has ever shown her. And I delve into the dark side of Arthurian legend surrounding Guinevere’s kidnapping which is something many authors have shied away from. No matter the situation, this is a Guinevere with agency, perfectly willing to rescue herself.

What prompted you to write about this historical event?

NE: I’ve loved the character of Guinevere my whole life; she was one of my childhood heroes. When I was in college, a friend gave me a copy of Marion Zimmer Bradley’s The Mists of Avalon as a gift. I read it and loved it (it changed my life in more ways than I can say), but I hated her portrayal of Guinevere as meek, Christian and agoraphobic. That led me to seek out other fictional books written about her and I came across Parke Godwin’s Beloved Exile, which covers her life after the fall of Camelot. That got me thinking that you don’t hear too much about what happened to Guinevere outside of her time with Arthur.

Around that time, Guinevere came into my head and said previous portrayals have done her wrong, and it was time for me to set the record straight. We made a deal that day that I would tell her whole life story, from before Arthur and encompassing the time after his death.

How closely did you stick to the historical facts? If you used them loosely, how did you decide whether to deviate from them?

NE: It’s really hard to know what is fact when it comes to Arthurian legend. No one can prove that King Arthur existed, much less that his wife was really called Guinevere. Pretty much all we know is that someone led a battle (which we call the battle of Mount Badon) in which the Saxons suffered a sound defeat that kept them from attacking the post-Roman Britons for the next 50 years or so – but even the historians can’t agree when or where that battle took place. It is from that unknown historical leader and a mixture of Celtic myth that the Arthurian story evolved.

I did a lot of research on the Celts and post-Roman Britain (see next answer) to try to make the time period as realistic as I could. But I also couldn’t resist keeping some of the magic and mysticism of the medieval tales, so I used those elements in a shamanistic manner that is in keeping with what little we know of the Celtic/Druidic faith.

What research did you do for this book?

NE: I spent about 15 years studying everything I could get my hands on about Arthurian legend, Celtic and post-Roman Britain, the Druid faith (historical and neopagan versions) and related topics so that I was as well-versed in the subject as I could be. Most of it was books, but I also watched several documentaries. A full list of the sources I consulted can be found here: https://nicoleevelina.com/the-books/guineveres-tale/daughter-of-destiny-book-1/guinevere-trilogy/

I was fortunate to consult with two men who helped Marion Zimmer Bradley with her research, Jamie George and Arthurian scholar Geoffrey Ashe, both of whom were so wonderful to me. I met Jamie when he led an Arthurian Legend tour of England I took a few years ago and he introduced me to Geoffrey.

Do you use a mixture of historic figures and invented characters in the novel. Which is more difficult to write? Which to you prefer to write and why?

NE: Yes. I have a few historic figures such as King Vortigern, the Saxon leaders Alle and Octha, and the Pictish chief Caw in this book. I also have your standard mythological characters like Arthur, Guinevere, Lancelot, Merlin, Nimue, Viviane, Isolde, Morgan, etc. But I have characters I have totally made up, too, such as Sobian and Father Marius. They are all pretty much equal in my eyes as far as preference and difficulty are concerned. Because we don’t know much about the historical Dark Age/early Medieval figures, I’m not bound to tradition or fact like I would be with people from a later period and I have some creative leeway with them. Tradition plays a strong role in the mythological characters and I’ve chosen to keep a lot of the familiar elements, but I like to put my own twist on characters and events as well. That’s what makes my books a new contribution to the Arthurian tradition, not simply just a retelling.

In an historical novel you must vividly re-create a place and people in a bygone era. How did you bring the place and people you are writing about to life?

NE: Traveling there helped a lot. It gives an authenticity like nothing else. Even when you are writing about the distant past, knowing that the hills, mountains and rivers that you see are still pretty much the same, even if everything else has changed, gives you a bit of feeling of what the place must have been like. Every location has its own energy and when you’ve been there, you can incorporate it into your stories.

The rest was incorporating what I learned through research and what I imagined. I think having a strong sense of place and an understanding of the culture are key. But too, you have to have well rounded characters who think as much as possible in the way of the time. That being said, the basics of human nature don’t change, so having characters people can relate to, not matter if they love them or hate them, goes a long way toward making the reader feel like they are part of the story.

There often seems to be more scope in historical novels for male characters rather than female characters. Do you prefer to write one sex or the other. And, if so, why?

NE: This is exactly why I write historical fiction. I’m very much a first-person, female POV writer. My personal mission is “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).” I feel like women’s stories have been massively undervalued and certainly underreported, so I make it my job to do what I can to change that.

That’s not to say you won’t ever see me writing in the male POV, but when you do it will be in the context of a female-based story. For example, I plan to write the story of Isolde and Tristan from multiple first person POVs, including his, but the focus of the story will be on her.

Thank you for your insightful answers to my questions, Nicole. I share your enthusiasm for the stories of the women who are often sidelined in history books and wish you well with your trilogy.

Readers can learn more by visiting her website/blog and she can be found on Twitter as well as on Pinterest, Facebook, Goodreads, Instagram and Tumblr.

About Nicole Evelina: She is a St. Louis historical fiction and Camelot Nicole Evelinaromantic comedy writer. Her debut novel, Daughter of Destiny, the first book of an Arthurian legend trilogy that tells Guinevere’s life story from her point of view, has been short-listed for the Chaucer Award in Early Historical Fiction. Camelot’s Queen is its sequel.

Later this year, she will release Been Searching for You (May 10), a romantic comedy that won the 2015 Romance Writers of America (RWA) Great Expectations and Golden Rose contests, and Madame Presidentess (July 25), a historical novel about Victoria Woodhull, America’s first female Presidential candidate, which has been short-listed for the Goethe Award in Late Historical Fiction.

She hopes to have the final book in Guinevere’s Tale available in late 2016 or early 2017.

Nicole is one of only six authors who completed a week-long writing intensive taught by #1 New York Times bestselling author Deborah Harkness. She has traveled to England twice to research the Guinevere’s Tale trilogy, where she consulted with internationally acclaimed author and historian Geoffrey Ashe, as well as Arthurian/Glastonbury expert Jaime George, the man who helped Marion Zimmer Bradley research The Mists of Avalon.

Nicole is a member of and book reviewer for the The Historical Novel Society, and Sirens (a group supporting female fantasy authors), as well as a member of the Historical Writers of America, Women’s Fiction Writers Association, Romance Writers of America, the St. Louis Writer’s Guild, Women Writing the West, Broad Universe (promoting women in fantasy, science fiction and horror), Alliance of Independent Authors and the Independent Book Publishers Association.

She spent 15 years researching Arthurian legend, Celtic Britain and the various peoples, cultures and religious practices that shaped the country after the withdrawal of Rome. Other historical interests include the Middle Ages and women who made their mark on history. She’s also a frequent visitor to Chicago, where Been Searching for You takes place.

Posted in May 2016 | Tagged , , , , | 2 Comments

The Storm Sister Enthralled Me

A couple weeks ago I read The Storm Sister by Lucinda Riley and I found it a gripping read. This is what the publisher says about the story:

The Storm Sister is the second of a unique seven book series based allegorically on the mythology of the famous star constellation.

Storm SisterGathered at their childhood home to mourn their father’s death, Ally D’Aplièse and her five adoptive sisters receive tantalizing clues to their distinct heritages. Ally soon finds herself in Norway where she begins to make sense of her elusive past in the second part of an epic new series by #1 internationally bestselling author Lucinda Riley.

Olympic hopeful Ally is in the midst of preparations for one of the world’s most challenging yacht races when news of her beloved father’s death shocks the accomplished sailor. Saying goodbye to the love of her life, a man her family knows nothing about, she rushes back to her family home, an enchanting chateau where she and her five sisters—each adopted as infants—were raised on the shores of Lake Geneva.

When new tragedy strikes on the high seas, pummeling Ally yet again with a terrible and unexpected loss, she turns her back on the water and instead follows her own North Star—an intriguing clue left by her father which leads her to Norway and the promise of unmasking her origins. Surrounded by the majestic beauty of an unfamiliar homeland, Ally begins to unpack the century-old story of a remarkable young woman named Anna Landvik, a talented singer with an astonishing link to composer Edvard Grieg and his celebrated musical accompaniment to Henrik Ibsen’s iconic play “Peer Gynt.”

Lucinda Riley’s captivating story brings together two resilient women—decades apart—weaving their stories into a moving examination of family, love, and identity.”

Storm Sister, the second book in a seven book series, is the first novel I’ve read by Lucinda Riley and I was wowed by it, so much so that when I finished reading it, I immediately read the first book in the Seven Sisters series. Since each book starts at the same moment in time, it doesn’t matter which order they are read in. After I finished the first two I was rather dismayed to find that I will have to wait several months until the third book is released.

I am really impressed by the author’s storytelling ability. She is equally confident and skilful handling the contemporary and historical storylines. As the book opens, she conjures the world of professional sailing and yacht racing so vividly that I was transported into this world and completely forgot that there was also an historical portion of the novel, set a century earlier still to come. But when the story slipped into the past, I became enthralled by life in a Norwegian mountain village as well as in the cultural centres of Europe.

The characters in the contemporary and historical threads of the story have been fleshed out into believable people with genuine desires and dreams. Passionate and poignant love stories in both threads add depth to the novel.

I loved the way the author wove fictional characters into historic events to mingle with famous historic figures, creating interesting possible twists to known history that excite the reader’s imagination. She uses these tweaks to history in order to weave a mystery into this novel and also a second question into the series. Both puzzles intrigued me and got me thinking. By the end of the novel, the question behind the mystery regarding Ally’s heritage had been answered, but the ones regarding what connection her adoptive father had to her birth family and where he came from had not. The story reached a satisfying conclusion yet the mystery which remains has been awakened my curiosity and I will have to read the rest of the series to unravel it. Seven books is a big commitment but, if each of them spins tales that are as engrossing as the two novels I’ve just read, I won’t mind one bit. I can heartily recommend Storm Sister to readers who enjoy a good story, whether contemporary or historical is their first preference.

Lucinda RileyAbout Lucinda Riley: She was born in Ireland and wrote her first book aged 24. Her novel ‘Hothouse Flower’ (also called ‘The Orchid House’) was selected for the UK’s Richard and Judy Bookclub in 2011 and went on to sell 2 million copies worldwide. She is a multiple New York Times bestselling author and has topped the bestseller charts in four European countries.

In response to demand from her readers, she has recently re-written two books from her early writing career when published under her maiden name Lucinda Edmonds – the books are now being published as ‘The Italian Girl’ and ‘The Angel Tree’.

Lucinda’s books are translated into 28 languages and published in 38 countries. She lives with her husband and four children on the North Norfolk coast in England and in the South of France.

For more information visit her website. Readers can connect with the author on FacebookTwitterYouTubeInstagram, and Goodreads.

 

Posted in April 2016 | Tagged , , , , , | Leave a comment

Delving Into Susanna Calkins’ Historical Mysteries

Today I’ve invited Susanna Calkins to visit and answer a few questions about the fourth and latest book in her historical mystery series, A Death Along The River Fleet.

Welcome Susanna. Let’s get started, shall we?

Tell us about your novel.

River Fleet coverSC: A Death Along The River Fleet opens with Lucy Campion, 17th century printer’s apprentice and bookseller, on her way to deliver some books to a customer several miles from her shop. As she crosses the River Fleet and enters the vast wasteland created by the Great Fire of London of 1666, she encounters a strange woman who speaks of being chased by the Devil. The woman is barefoot, clad only in a shift, covered in blood that is not her own, and unable to remember her identity.  Worried that the woman will be set upon by fearful villagers, Lucy brings the woman to the home of a physician she knows. When they suspect that the woman may be a noblewoman, the physician does not wish to throw her out of her house and presses Lucy to tend the woman while the woman’s family is being located. To make matters more strange, the body of a murdered man is found in the ruins nearby, and the odd woman may well be the murderess.

What prompted you to write about this historical event?

River fleet 1SC: This time period in British history fascinates me generally. King Charles had only been restored to the throne for several years (following two decades of more repressive Puritan rule) when the plague struck, followed soon after by the Great Fire.  Those events completely disrupted families and communities in London, as people died, or fled from the area. Not only was there a great deal of identity theft (servants could become masters and appropriate titles, property and wealth) but there were also unheralded job opportunities. Lucy was able to avoid some of the patriarchal strictures of her time, by finding a way to become a printer’s apprentice (even if the stationer’s guild does not formally accept her).

What research did you do for this book?

SC: I did a great deal of research for this book, much of it completed when I was earning my Ph.D. in early modern English history. I spent time in London as well, working by Shakespeare’s Globe, so I could get a feel for the period.

How closely did you stick to the historical facts? If you used them loosely, how did you decide whether to deviate from them?

River fleet 2SC: I try to balance accuracy and authenticity. I try to be as accurate as possible, using period maps and primary sources to help me with details, and scholarly secondary sources to help me make sense of the larger social, cultural, religious and political trends. But there were certainly a few things that I had to simplify—for example, there was no police force at this time period, so I had to give my constable a broader range of duties and powers that were probably a bit exaggerated.

Do you use a mixture of historic figures and invented characters in the novel? Which is more difficult to write? Which to you prefer to write and why?

River fleet 3SC: I created every character in my book. I do reference historical figures like King Charles II or the diarist Sam Pepys, but those details just serve to enhance the larger historical backdrop.  I made the decision a long time ago not to use real historical figures, because I think I would feel too limited in what I could let the character say or do or act.  I would want to be scrupulous in the way I portrayed this person, and that just seems very challenging.

In an historical novel you must vividly re-create a place and people in a bygone era. How did you bring the place and people you are writing about to life?

SC: I like to think of the historical setting as another character. I have my characters see the carts in the streets, listen to the cries of the soap-sellers, smell the offal that has been flung out the window, taste the savory hot pears sold on the street-corner, feel the cobblestone streets beneath their leather boots. I read a lot of sources from the time to help me get these kinds of details right, although of course most of the research ends up on the proverbial cutting-room floor.

There often seems to be more scope in historical novels for male characters rather than female characters. Do you prefer to write one sex or the other? And, if so, why?

SC: That’s an interesting question. Lucy came to me a long time ago; I knew I wanted her to be a servant but one who pushed against some of the constraints of her sex and station. Even though I write in third person, I felt more comfortable writing from a female perspective—it just feels more natural and authentic for me.

Thank you for answering my questions, Susanna.

Thank you so much for inviting me onto your blog today, Dianne!

For more information, and to subscribe to Susanna Calkins’ newsletter, please visit her website. Readers can also follow her blog, and connect with her on FacebookTwitter, and Goodreads.

Rivre fleet_AuthorAbout Susanna Calkins: Susanna became fascinated with seventeenth-century England while pursuing her doctorate in British history and uses her fiction to explore this chaotic period. Originally from Philadelphia, Calkins now lives outside of Chicago with her husband and two sons. A Death Along the River Fleet is her fourth novel.

 

 

Posted in April 2016 | Tagged , , , , , , , | Leave a comment

Meeting Readers’ Expectations In Wartime Fiction

Books_in_Wartime,_1942_D11292Today I’ve been chatting with Vanessa Couchman on her blog about how to meet wartime fiction readers’ expectations, even when your story isn’t set in one of the places where they expect to find themselves when they open the book and turn to the first page. Since I’m writing the Second World War saga series, The Yankee Years, set in Northern Ireland during the war, I’ve had a bit of experience with this quandary.

If you’d like to hear what we discussed, you’ll find my post here.

Posted in April 2016 | Tagged , , , , , | Leave a comment

A Tudor Mystery

Today Mary Lawrence is here to discuss her Tudor era mystery, Death of an Alchemist.

Welcome, Mary. Let’s get started, shall we?

Tell us about your novel.

Alchemist coverML: Death of an Alchemist is Book 2 in the Bianca Goddard Mysteries, a new series set in the final years of King Henry VIII’s reign.  The series features the estranged daughter of an infamous alchemist who makes medicines for the sick. She combines herbal knowledge (learned from her mother) with alchemy (learned from her father). Death and murder are quite common in Tudor London. Bianca has a curious mind and seeks to understand disease as well as what motivates people to murder.

In Death of an Alchemist, the sweating sickness is spreading. Bianca is working on a cure and seeks help from an elderly alchemist. Ferris Stannum has just discovered the elixir of immortality. He seeks to confirm his recipe with a colleague in Cairo, but the next day, Bianca finds him dead and his journal is missing.

Bianca believes he died under suspicious circumstances and returns home to find her husband has taken ill. When the journal mysteriously turns up in her room of Medicinals and Physickes, she dares to hope it could contain the secret to his recovery. But possessing the journal comes with great peril. An attempt is made on her life as she works to save John’s, and soon Bianca is caught in a race against time to save her husband as well as herself.

What prompted you to write about this historical event?

ML: I began writing Death of an Alchemist about the time when the U.S. was nervous about an E boli outbreak. Hemorrhagic diseases have been around for centuries—think Dengue Fever and the Yellow Fever. But because we were not familiar with E boli a lot of misinformation circulated and a kind of hysteria developed.

I started thinking about disease in centuries past, and realized that people operated on superstition and misinformation because there wasn’t any science in place to distinguish diseases or to understand them. In Tudor England, the “Sweat” was a well-known and much feared disease–“Merry at dinner, dead before dawn.” I asked myself what it would have been like back then trying to understand a mix of different diseases?

Every story or series about alchemy worth its weight needs to address the “elixir of immortality”. Since Bianca stands to lose the most important person in her life and has the chance to cure him of death permanently, I had her wrestle with plenty of philosophical questions.

I was also struggling with my own grief having lost my favorite cat and a close friend who had supported my writing for years before I ever got published. I shed a lot of tears writing this novel.

How closely did you stick to the historical facts? If you used them loosely, how did you decide whether to deviate from them?

ML: Symptoms of the Sweating Sickness are accurate. In the back of the book I explain to readers what is made up and what is not. If you write historical fiction you owe it to your readers to get facts as accurate as possible. No one is going to get history perfect and I’m constantly learning new things and cringing at what I have gotten wrong.  But most important to me is getting the feel and the attitudes right for the time. Some folks take issue with Bianca being an independent woman, but I argue that there have always been independent women in the world. We don’t have many historical accounts about the lower classes and what history we do have has been recorded mostly by men. I’ve been careful to keep Bianca bound by the mores of her time—but I admit I have her step out some. I don’t think readers want to follow a demure, milquetoast solving murder mysteries.

What research did you do for this book?

ML: I read a steady diet of reference books and narratives about Tudor England.  But for this particular book, I researched Hemorrhagic disease and learned about Macaws. I collect articles off the internet about Alchemy and read several books on it, plus thought about what chemical process I could use that would work in the book.  I also read some philosophy about death and immortality and how Christianity views mortality and the soul.

Do you use a mixture of historic figures and invented characters in the novel.  Which is more difficult to write? Which to you prefer to write and why?

ML: In this book, the characters are made up. I read about different occupations in Tudor England and then construct the characters around their social class and the values they hold most dear. Henry is mentioned and it is his policies that influence how people behave in the stories. So, while the King hasn’t an active role in my books, his laws are definitely felt.

In an historical novel you must vividly re-create a place and people in a bygone era. How did you bring the place and people you are writing about to life?

ML: I am a nut for maps. I’m thrilled that the AGAS map of Tudor London is live and interactive on the web now. I can use overlays for wards and parishes, important buildings. I don’t really want to visit London again, because I have a vivid picture in my brain of the streets and layout from 500 years ago. On top of the map study, I read a lot of old books on the era. I sit and imagine the world before I write about it. I also love the language and that is an ongoing struggle to find the right balance. I constantly check to see if certain words were used back then.

There often seems to be more scope in historical novels for male characters rather than female characters. Do you prefer to write one sex or the other. And, if so, why? 

ML: I don’t have a preference. Bianca is my protagonist, but most of the characters in the series are men. I need to balance that out in the future. But I feel that men and women are basically the same at their core and everyone has their own motivations—which don’t necessarily revolve around gender issues.

Thanks for answering my questions so thoughtfully, Mary. For more information about Mary and her writing, readers can visit her website as well as her FacebookTwitterPinterest, and Goodreads pages.

Alchemist_Mary LawrenceAbout Mary Lawrence: She studied biology and chemistry, graduating from Indiana University with a degree in Cytotechnology. Along with writing and farming, Lawrence works as a cytologist near Boston. She lives in Maine.

 

Posted in March 2016 | Tagged , , , , | 2 Comments