Tag Archives: writing historical fiction

Down the Rabbit Hole of Research

A few months into crafting the first few letters of my epistolary novel, “Imagining Violet”, loosely based on my grandmother’s life, I began to read what I could about violins and violinists. I was going to write about a young girl studying music at the Leipzig Conservatory in the 1890s, and I had never held a violin in my hands.

I read about the various schools of violin instruction over time and I watched some violin teaching videos, hoping to glean something of the basics of the instrument. But these explorations were superficial and did not generate the experience or knowledge needed to write with confidence and credibility.

As a 70th birthday challenge and to further my research, I decided to learn to play the violin. To begin, I rented a violin and tried a few tutorials on YouTube. That lasted about five minutes. I quickly realized that I needed to take real lessons. As I live on an island, population 10,000, my choices of teachers were limited. My neighbour Carolyn teaches kids, and she wouldn’t have me. I asked her how long it would take me to make a decent sound on the violin. Five years, she told me. I was seventy, I said, I didn’t have that long. A friend recommended Suzanne and my lessons began.

I knew I would be doing this for a while and decided to buy a beginner’s violin. I paid $100 for an outfit (violin, bow, case) from a local fellow, one he’d bought but never used. It seemed okay to me, but I knew nothing.

Six months into my lessons, Suzanne insisted that I upgrade to a better instrument. This I did, thanks to my neighbour Carolyn, the violin teacher who wouldn’t have me. Her luthier friend Ross comes regularly to our west coast island from his home in Calgary. Ross sold me a Romanian violin, almost new, for $700. That was as much as I could afford or was willing to invest.

After eighteen months of lessons, Suzanne tossed me out of the nest saying she’d taken me as far as she could. I come from a musical family, with musical genes on both sides. I sing in a community choir and I’ve played the piano since I was four years old. It’s fair to say that I’m musically literate. So some aspects of playing the violin came quickly. I’d always watched in awe as violinists found the right notes without any frets. I couldn’t imagine how they did it. But finding the right notes wasn’t as difficult as I’d expected and I seemed to be progressing well. I was stiff and tense and clenched my jaw when I practised, but I’d get over that.

Suzanne’s prompting coincided with the arrival on the island of the amazing violinist, Joan Blackman. Joan wanted to build a roster of students and to my astonishment, was willing to take on a geriatric beginner. Under her instruction, I moved quickly through Suzuki Book Two and Three. Joan concentrated on my bowing and constantly adjusted my bow hold. In the spring of 2016, she declared that I was ready to join Orchestra 101, an amateur group of string players led by ‘cellist Paula Kiffner, herself a superb player and highly regarded teacher. Throughout this period of about two years, I became more and more confident writing about my Violet’s progress at the Leipzig Conservatory. Now that I played with a group, I had a better understanding of the challenges that ensemble playing had presented to Violet back in the 1890s.

I could find the notes all right, more or less, but bowing was another matter. From the very beginning of my studies, Suzanne stressed that I needed more weight on the bow, I needed to relax, I needed to let my arm become heavy. I didn’t get it. Joan kept advising me to “play in the strings”. I didn’t get it. But it was fuel for my story: I opted to let Violet have the same problems.

Then something quite wonderful happened. I found out that one of my numerous first cousins had inherited our grandmother Violet’s violin. This was stunning news indeed. The cousin had kept it forever, thinking he’d return to his string studies once he retired. Retirement had come, but the violin languished in its cupboard. With a little nudging, he agreed to pass on the instrument. And it came with our grandfather’s gorgeous Brazilian rosewood case.

My daughter undertook to ship Violet’s violin from Toronto to my home on the west coast. It arrived via FedEx in a box that was over five feet high, full of packing peanuts which protected an inner box, which was itself enveloped in bubble wrap. Inside the second box was the violin case, also encased in bubble wrap. My generous daughter wouldn’t admit to the cost of this, but she did say she’d spent an hour and a half at the FedEx office while they packed it up.

Luthier Ross was on the island a month later and agreed to refurbish Violet’s violin. He told me it had been factory built in Germany around 1870 and was a good quality advanced student instrument. He thought he’d need it for about three months, but I was not surprised when it took six. It was glorious to have Violet’s actual violin and to play it. It has a lovely tone and it deepened my sense of connection with its original owner.

For my rather extravagant Christmas present, my dear husband arranged for a marvellous local woodworker to refurbish the beautiful old case. The veneer on the ends of the case was splitting off. Iltydd just happened to have some Brazilian rosewood veneer in his workshop and completely restored the case, which he then advised me to use only on very special occasions.

By early 2017, Joan had become too busy with teaching commitments off-island and touring with her string ensemble to give me lessons. All agreed that I should continue studying and so with fear and trembling, I went back to Carolyn and asked if she’d take me on, now. To my delight, she said “yes”. I didn’t remind her that she’d turned me down four years earlier.

Carolyn took me back to basics. She’s a born teacher and has all manner of tricks and techniques. It’s two years later, and I’m once again working in Suzuki Book Two. And I still play with Orchestra 101, rechristened the Salt String Ensemble to honour our development. The Salt Strings played at the book launch for “Imagining Violet” in November 2018, and we played another concert in April of this year.

Rehearsing with Salt Strings is the highlight of my week. There are eleven of us now, with a wide range of ages, skills, talents, musical experience, professions. Our double bass is a local GP. One of the first violinists is a former judge. Another is a carpenter. To no one’s surprise, there are at least three cyber-techies amongst us plus one graphic designer and one organic farmer, a woman who successfully grows tropical fruit on the west coast of Canada.

You never know where research will take you. “Imagining Violet” is finished and published but I’m a long way from being finished with Violet’s violin.

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Born and educated in Toronto, Mary Elizabeth Hughes has called BC’s Salt Spring Island home since 2002. The author of two volumes of nonfiction, Frank Welsman, Canadian Conductor and The Life and Times of the Floathouse “Zastrozzi,” she published more than 90 feature articles in Canadian trade magazines. Additional publications in 2018 and 2019 include stories in The Muskokan, Cottage Life, More of Our Canada, Bunbury Magazine, The Peacock Journal, and Page&Spine. Her first novel, Imagining Violet, historical fiction and epistolary in format, was published in November of 2018.

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Historical Fiction, According to The Copperfield Review

By Meredith Allard

What is historical fiction? As the executive editor of a literary journal of historical fiction, I get asked this question a lot. Part of the problem with trying to define historical fiction is that there are as many definitions of historical fiction as there are people who write and read it. That is a good thing because it means that there is no right way to write historical fiction.

However, since The Copperfield Review is a journal of historical fiction, there are a few elements of the genre we look for when we’re considering submissions. If you’re looking to publish your historical fiction or poetry with The Copperfield Review, you might want to take these ideas into consideration before you send off your submission.

  1. First of all, make sure your submission is actually historical in nature. We receive so many submissions from authors who blindly send off submissions without realizing that The Copperfield Review is a journal of historical fiction. If your story is set in the present day or has no recognizable historical period, save yourself the unnecessary rejection letter and send your submission elsewhere.
  2. Be sure that your fiction or poetry submission is clearly set during an historical period. We’ve received many submissions that name a date at the top (1872, for example) but then there are no historical details within the story itself that help us place the story in that year. When we read historical fiction here at The Copperfield Review, we look for historical details that could have only come from that era. Typing an historical year at the top of a submission but not bringing that year to life through vivid details is not a submission that will appeal to us.
  3. Be aware of dialogue. Wordy, unnecessary dialogue is a frequent problem we see in submissions. When we’re writing historical fiction, it isn’t necessary to try to perfectly mimic the way people spoke during whatever era you’re writing about. You want your dialogue to reflect elements of the era but at the same time it needs to be readable to 21st century readers.
  4. Also, beware of writing in dialect. We see this a lot in the Old West or World War II stories sent our way. This is strictly my own taste, but I find having to decipher dialogue written in dialect a pain. My main man, Dickens, wrote a lot of his dialogue in dialect, and I don’t like reading his dialect any more than I like reading it from anyone else. Try to find the rhythm, the cadence of the speech patterns without making the dialect read like a puzzle. If you’re looking for examples of how to write historical dialogue, there are some wonderful historical novelists out there who do it very well. Look around for some examples written about the era in which your story is set.
  5. Again, this is strictly personal taste, but we are not overwhelmed by pieces that claim to be historical fiction but are really present day stories with someone having a memory about the past. We’ve been getting a lot of submissions like this lately. Really, they’re present day stories, but one character, probably someone older, has a memory about something that happened in 1962, and then it goes back to being a present day story. Other journals may love such stories, but here at Copperfield, where we’re looking for historical fiction, this type of memory piece is not likely to work for us.
  6. Keep in mind that we receive many submissions set during World War II, the Old West, and the American Civil War. These are fascinating historical subjects, but because we receive so many submissions set during these eras we’re unable to publish too many of these stories. Sometimes a submission will catch our attention and be published for no other reason than it’s set during a time we haven’t published before. This is where becoming familiar with the journal you want to be published in can come in handy.

Remember that these are just our thoughts at Copperfield. If you go back through our archives, you’re likely to find stories that don’t meet all of the above criteria; however, for the most part these are the criteria we use to determine if a piece is something we’d like to include in our journal of historical fiction. The point is to make sure that the work you send us is clearly historical in nature through events, characters (real or imagined), dress, dialogue, and descriptions. If your submission seems like it could take place anywhere at any time, it’s probably not right for us.

There are literary journals that publish various types of stories, so just because something isn’t for us there’s likely another journal that will love it. Keep on keepin’ on. Continue sending out your work until you find the right home for it.

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Meredith Allard is the Executive Editor of The Copperfield Review. Visit her online at www.meredithallard.com.

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9 Tips for Submitting to Editors

After I was invited to speak at the Henderson Writers Group, I had to decide what I had to offer that was useful. As the executive editor of The Copperfield Review, an award-winning literary journal for readers and writers of historical fiction, I realized I could offer tips on how to make submissions stand out so they had a better chance of being published.

Most writers write with the intention of being published. Not all writers. A few years ago I taught a creative writing workshop for adults in California and I had a lovely older lady as a student. She was taking my class because she wanted to write her life story for her grandchildren and she wanted to write it well. But most writers want to submit their work to magazines, journals, agents, and book editors so they can be published.

Every day writers give editors many reasons to say no to their submissions. If you can help your submission stand out from the crowd, in a good way, then you can increase your chances of getting a yes and being published. Here are my best tips for submitting to editors.

Don’t…

9. Cc every editor you’re submitting to in one email

Most editors understand that writers are sending simultaneous submissions, meaning that writers are sending their work to several journals at a time. Even so, it’s important for writers to take the few extra minutes to send a separate email to each individual editor. It looks more professional, like the writer cares about presentation. Cc’d submissions look lazy, quite frankly, and other editors I know agree with me. Every time I’m included in a cc list with other editors, inevitably a few of the other editors will email me and ask “Did you see that email?” Then they’ll follow the question with something like “What a jerk!” or some other expletive I won’t include here. I don’t look too closely at cc’d submissions, and neither do other editors I know.

8. Misspell the editor’s name

7. Confuse the editor’s gender

Make sure you spell the editor’s name correctly, and check to see if the editor is a boy or a girl. If I had a dollar for every time I received an email addressed to Mr. Allred I could have bought out Borders and prevented it from going out of business. I’ve seen my name as Allston, Allen, Allan, and every other variant of All— you can think of. On The Copperfield Review The Staff page, my name is there, spelled correctly, and you can see at a glance that my gender pronoun is ‘she.’ It’s the same for other editors or agents—the information is on their websites. Just three weeks ago we received a submission addressed to “Dear Sirs.” There isn’t a single “sir” on the staff of Copperfield. That submission was laughed right into the no-thanks file. Details are important. Really.

6. Resubmit a new version of your work 

Whether your work is accepted or rejected, don’t resend a new version to the same editor. If your work was rejected, it wasn’t right for that editor for various reasons. It isn’t anything about your talent or even that particular story. Different editors have different preferences, that’s all. Keep sending the story out to different editors. But don’t send it back to the same editor, even if you’ve reworked it—that is, unless the editor has specifically said to send it back after you’ve made revisions.

That goes for work that’s been accepted too. It’s happened where we’ve accepted a piece for publication and then the writer says something like, “I’ve reworked my story. Here’s the new version.” If we accepted it, then we thought it was fine. We don’t need a new version. At Copperfield, we stopped accepting new versions because we were doing twice the work—formatting the original we accepted, then formatting the new one. Now on our guidelines it says writers need to send in the version they want to see online since what they send us (if it’s accepted) is what’s going up. Send in your best stuff the first time, and that will make the process easier for you and for the editors.

5. Forget to let editors know your work has been accepted elsewhere

I took a quick poll of a few editor friends of mine. I asked them what their number one pet peeve was concerning submissions, and every one said they’re most annoyed when they choose a work for publication and then find out the work has been accepted elsewhere.

The issue isn’t that the work has been picked up by another journal. Nearly every editor I know is a writer too, and we’re thrilled when other writers are published whether it’s in our journal or someone else’s. The problem occurs when we aren’t told a submission is no longer up for consideration. At Copperfield, we spend a lot of time reading and rereading every submission we receive. If authors don’t tell us their work has been accepted elsewhere and we spend time considering their work, we’ve just wasted hours, and, like many of you, we don’t have hours to waste. A simple e-mail is all it takes. No long explanations required. But it is expected, professional courtesy to let editors know your work is no longer up for grabs.

Do…

4. Send in your most polished work

I’m a writer too, and I know what it’s like to be eager to be published. It takes discipline to keep reworking a piece until it’s polished and ready to submit, especially since the revising process could take weeks or even months. You don’t need to rush the submitting process. Literary journals, agents, and publishers aren’t going to disappear (maybe publishers will disappear if you believe what you read).

Run your work by a critique group. Take writing classes. Read some great short stories and examine their greatness. Develop an ear for well-written dialogue. Unwieldy or unnecessary dialogue is a common problem in submissions we see at Copperfield. Give yourself time to grow into the writer you want to be. I know we live in the “I want it now” era, but there’s no rush. You’re on no one else’s timetable but your own. Make sure your story is the best it can be before you send it off to editors.

3. Proofread your queries and submissions

It’s important to proofread for typos and other boo-boos. It goes back to showing editors, agents, and anyone else you’re submitting to that you’re serious about writing. You’re not sending in something you wrote off the top of your head, and you took the time to read and reread to check for mistakes. Sometimes it’s hard to catch your own mistakes because your eyes see what they expect to see, and they expect to see what you meant to write. Maybe you meant to write ‘she’ instead of ‘the’ but your finger went to the right instead of the left and…you know how it goes. And spellcheck, while a great tool, isn’t perfect.

It’s helpful to have another set of eyes proofread your work for you. Whether it’s a friend with a firm grasp of language and spelling or you hire a professional editor, someone else will often catch those pesky typos before you do, and that will help you create a professional looking draft most editors will be happy to consider.

2. Read previous editions of the journal/publication to see what they publish

Sites like New Pages or the Literary Magazines page from Poets & Writers are great resources for finding journals that publish stories like the ones you’ve written. When I first started writing historical fiction I searched for journals that published that genre, but I couldn’t find any. As a result, I started my own—The Copperfield Review. With so many journals online these days, it’s easy to click through their stories to see what they like to publish, and it helps to whittle down your list of possible submissions.

The Copperfield Review is a journal of historical fiction. You’d be amazed at the countless submissions we’ve received over the years that were not at all historical in nature. Writers waste their time sending their non-historical submissions to us. That’s one more rejection letter they wouldn’t have received if they had checked our website. Even a cursory glance would show that The Copperfield Review is a journal of historical fiction.

If you write science fiction, seek out science fiction journals. If you write mystery, humor, romance, inspirational, literary—whatever it is, there’s a journal out there that publishes it. Send your work to those journals because you’ll have a better chance of being published. And if such a journal doesn’t exist, start your own. It worked for me.

1. Follow the submission guidelines exactly as stated

As a writer myself, I understand that sometimes submission guidelines seem petty, even vindictive—you know, a way to make writers more miserable. What does it matter if it asks for a third person bio? What does it matter if I send in seven poems at a time instead of three? But those guidelines exist for a reason, and editors notice if writers don’t follow them. You’re going to have to trust me on this.

Maybe the problem is the word guidelines, which sounds more like submission suggestions. The guidelines exist because the editors need some semblance of sanity, a method to our madness, to help us weed through hundreds of submissions per edition. For example, we don’t accept file attachments because we caught viruses when we did. We only accept three poems at a time and we have a word limit for fiction and nonfiction because we’re a tiny staff with day jobs, families, and other life obligations. We ask for a third person bio because books, newspapers, and magazines use third person bios. I understand that to authors it might not seem like a big deal whether they send in a bio in first or third person, but it makes a difference to us as we put each new edition together.

For writers who want a one-size-fits-all file that will work as a submission for fifty different journals, I’m afraid that’s not likely. Submissions that follow the guidelines are the ones we look at seriously for publication. Writers careful to follow our specific guidelines at Copperfield are showing us that they take their writing seriously, they care about presentation, and they’re making the process easier by giving us what we’ve asked for. All I can say is a hearty “Thank you!” to those writers.

It isn’t so hard to send in a strong submission. It boils down to being professional, sending in your best work, and following the guidelines. If you can do those things, the sky is the limit for your writing career.

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Meredith Allard is the Executive Editor of The Copperfield Review. Join Meredith online at www.meredithallard.com.

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Ruth Hull Chatlien

The Ambitious Madame BonaparteRuth Hull Chatlien is the author of the historical novel The Ambitious Madame Bonaparte. Here’s her take on writing historical fiction.

Meredith Allard: When and why did you begin writing, and did you always write historical fiction?

Ruth Hull Chatlien: I started my first novel when I was ten years old—so long ago that I don’t remember why I did it beyond a love of stories. That first novel was historical fiction about forbidden romance and patriotic spies during the American Revolution. I finally finished the 120-page manuscript when I was in high school. In college, I majored in literature, and influenced by that experience, I spent the next 30 years writing literary fiction. I managed to get a few poems and short stories published. Finally, a few years ago, I decided to go back to my first love: historical fiction.

M.A.: What inspired you to write The Ambitious Madame Bonaparte?

R.H.C.: My husband and I were great fans of the Horatio Hornblower television series in the late 1990s. Then in the 2000s, we discovered an additional four episodes that we had never seen because they were produced much later. The last of those featured Jerome and Betsy Bonaparte. Despite my familiarity with world history, I didn’t know that Napoleon’s brother had married an American. When I looked up the facts on the Internet, I discovered that Betsy’s real life was far more interesting than the snippet shown (and distorted) in the television show.

M.A.: Tell us about The Ambitious Madame Bonaparte. How would you describe it to potential readers?

R.H.C.: The book combines romance, action adventure, and a tale of family dysfunction. Betsy Bonaparte was a heroine as beautiful and headstrong as Scarlett O’Hara, but unlike Scarlett, she was a real woman. She led a tumultuous life because of her belief that a woman had as much right to exercise her talents as any man.

M.A.: All authors have a different path as they seek publication. What was your journey to publication like? What can you tell us about the joys and the challenges of being an author?

R.H.C.: Originally, I sought traditional publication for the novel. I spent about six months shopping it around to agents without success. The original version of the book had two problems; it was longer than what publishers wanted to see from a first-time author, and because I had tried to keep it short, it wasn’t descriptive enough. Then in February 2013, through a mutual friend I met the man who had founded Amika Press in Chicago. He was excited about the concept of my book, so after taking some time to consider whether I was ready to give up on New York publication, I submitted the manuscript. The publisher and editor at Amika both read it, liked it, and agreed to take it on. My editor was fantastic and really helped me make it the book I dreamed it would be. To my surprise, he wanted me to make it even longer by adding the descriptive details I had left out. We went through one major revision and one copy edit, and then the novel came out in December 2013.

M.A.: For me, researching historical fiction is always the most challenging part. What is your research process? Do you travel for research? How do you incorporate the facts of the era with your fictional story?

R.H.C.: I researched the novel by reading several biographies of Betsy as well as books about Jerome, Napoleon, Dolley Madison, the War of 1812, Baltimore architecture, period clothing, and an early excursion to Niagara Falls. I also took a research trip to Baltimore to visit historic homes, Fort McHenry, a 19th century warship, and the Maryland Historical Society.

Even after gathering all those facts, I still had to deal with areas where details have been lost to the historical record. One of my favorite analogies for writing historical fiction is “hanging the swags.” I think of the known factual events as brackets extending at irregular intervals along a wall. As a novelist, I had to make up scenes and bits of dialogue to connect those known events—like draping material to connect the brackets.

M.A.: Which authors are your inspiration—in your writing life and/or your personal life?

R.H.C.: I owe a tremendous debt to Graham Greene for showing me that it’s ok to write about deeply flawed characters. I very much admire historical novelists such as Tracy Chevalier, Hilary Mantel, and Sarah Dunant for the way they have made the past come alive in their work.

M.A.: What advice do you have for those who want to write and publish historical fiction?

R.H.C.: Tell a good story, but don’t neglect the history. I recently read a historical novel set in the same period as mine and dealing with some of the same people. The plot was fast-paced, and the characterization of the heroine was well conceived, but the book was riddled with anachronisms and inaccuracies. I had a very hard time remaining in the world of the book because the mistakes kept jarring me out of the story.

M.A.: What else would you like readers to know?

R.H.C.: I love hearing from readers. People can contact me at the following sites:

Blog 

Facebook 

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Meredith Allard is the Executive Editor of The Copperfield Review.

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Seven Tips to Create Memorable Historical Fiction Characters

By Michael Murphy

In historical fiction, creating realistic and memorable characters can present challenges not faced in other genres. Characters, like real people, are shaped by many factors, culture, heritage, religion, physical characteristics, birth order and life events. Memorable characters rebel at some of these influences. A classic example is Scarlett O’Hara in Gone with the Wind. Her rebellion from southern culture, Irish heritage and what is expected from a proper southern belle makes her one of the most memorable historical fiction characters ever.

I often turn to other writers for help and guidance. Therefore, with two historical mysteries that will be released by Random House Alibi later this year, I’ve come up with seven tips to create realistic and memorable characters.

  1. Character study. Get to know your characters before you begin your manuscript. Drafting a detailed character study is a valuable tool in any genre. Write one for each primary and key secondary character, addressing the character’s culture, family, physical characteristics and what has led to that character rebelling against them. Another important area to address is the change your character will go through during the story.
  2. Conflict. Enhance your character through physical, personal and professional obstacles to overcome. Let the era you’re writing about provide the conflict.
  3. Nobody’s perfect. Authors often hesitate to give their favorite characters flaws, or despicable characters redeeming traits. No one is one hundred percent good or bad. If your protagonist is ninety percent heroic, it’s the ten percent that will give him or her depth and leave lasting impressions with your readers.
  4. Historical figures. Historical fiction provides opportunities lacking in other genres. Consider ways for your characters to interact with readily identifiable historical figures. Their interaction with those larger than life characters will enhance your story and their characterization. In my historical mystery set in 1933 New York, my characters encounter Dashiell Hammett, Lillian Hellman, Cole Porter, Babe Ruth, Joseph Kennedy and more.
  5. Attention to detail. Historical fiction writers are excellent at creating vivid settings with attention to detail. Make sure your characters benefit from the same detailed research that make your scenes so clear to the reader. And avoid clichés. How do your characters feel and react to the choking smoke of a locomotive, or the salty spray of an ocean voyage? What do your characters wear and more importantly, why do they wear them?
  6. Behavioral traits. As you would in writing any genre, give your characters memorable, if not quirky behavior and traits.  Show them displaying mannerisms that make them unique. One might chew tobacco, or comb their hair at inopportune times. Give your characters identifiable quirks and mannerisms, just like real people.
  7. Humor. Historical fiction devoid of humor can result in a novel appearing dull and listless. Life is full of humor, embrace it and utilize your sense of humor in your characters. If you’re not experienced at writing humor remember, like drama, humor is driven by conflict. Drama or humor often comes from a character’s reaction to a scene’s conflict. A suspected haunted house, for example can be chilling or hysterical depending on your character’s reaction.

We write and read historical fiction for the opportunity to join vivid characters in past cultures and historical events. I hope these seven tips help make your journey easier and your characters more memorable.

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Michael Murphy is a full time writer in Arizona. He’s been writing novels for the past fifteen years. His most recent novel, Goodbye Emily, journeyed back to Woodstock. In August, Random House Alibi will release the historical mystery, The Yankee Club, Murphy’s ninth published novel. Coming next January is the second in the series, All That Glitters.

Murphy’s website www.mjmurphy.com

Goodbye Emily www.goodbyeemily.com

Murphy’s Mystery and History blog: http://blog.mjmurphy.com

Twitter: https://twitter.com/mmurfy68

Facebook: https://www.facebook.com/mmurfy86

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19th Century Life: Bodily Functions

By Ruth Hull Chatlien

Two years ago when I was visiting Baltimore to research my novel The Ambitious Madame Bonaparte, based on the true story of Betsy Bonaparte, my husband and I visited the Homewood House Museum. Homewood was the mansion of Charles Carroll, Jr., son of Charles Carroll of Carrollton (the only Catholic to sign the Declaration of Independence). Today, Homewood is beautifully restored, decorated, and furnished to authentically represent how it originally looked. It’s located on the campus of Johns Hopkins University, and I strongly recommend visiting it if you’re ever in Baltimore.

Elizabeth Patterson Bonaparte almost certainly attended parties at Homewood in its heyday. Not only were the Pattersons and the Carrolls both leading Maryland families, they were also intimately connected. In 1806, Betsy’s older brother Robert married Charles Carroll, Jr.’s niece, Marianne. So Homewood was a must-see for me. The day we visited, I told the woman who was going to be our guide that I was there to do research for a historical novel, but I did not name my subject. I was scrupulous about keeping that information private until I finished my manuscript.

As we toured the mansion, our docent led us into a room they have furnished as Mrs. Carroll’s dressing room. Almost directly in front of where I was standing was what looked to be a small, low mahogany table with slender neoclassical legs. Set within an arch-shaped opening in the “table” was a recessed silver basin. The docent announced in a somewhat amused voice that this piece of furniture was a bidet that had once belonged to Betsy Bonaparte. The docent didn’t elaborate—and because I was keeping my particular interest in Betsy a secret—I didn’t press her for information. I must admit that I had a very difficult time keeping a straight face.

You see, up until that moment, I hadn’t really thought about Betsy in terms of her bodily functions, so running unexpectedly across her bidet was disconcerting. It turned out, however, to be enormously helpful to me as a novelist, because it allowed me to think of her in an earthier way. She became more of a flesh-and-blood woman to me than a shadowy historical figure who existed only in the yellowed pages of old letters and biographies.

After we returned home, I did some Internet research and found an article originally published in the Baltimore Sun(Rath, Molly, “You Never Know What Will Turn Up Among the Collectibles at the Maryland Historical Society,” November 20, 1994). According to that article, the silver basin in the bidet was inscribed with the name of Napoleon’s own silversmith. I can only assume that Jerome Bonaparte gave Betsy that particular item after they married.

The article also mentioned that Betsy carried a porcelain bourdaloue with her when she traveled. A bourdaloue is basically a fancy, French porta potty shaped something like a gravy boat—a handy thing to have for those long 19th-century carriage rides. I find it difficult to imagine Betsy hiking up her skirts and taking a tinkle in a public coach, but maybe she used it in the shrubbery during stops along the way. And she and Jerome did travel extensively in their own privately owned coach and six.

Both the bidet and the bourdaloue were left to the Maryland Historical Society (MdHS) by Betsy’s grandson. At first, the curators at MdHS didn’t realize what the bourdaloue was. Thinking it was an extra large sauce dish, they put it on display as part of a table setting—until a porcelain expert enlightened them about its true function.

Since Betsy was known for her sharp wit, I feel certain that she would have had something saucy to say about that.

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Ruth Hull Chatlien has been a writer and editor of educational materials for twenty-five years. Her speciality is U.S. and world history. She is the author of Modern American Indian Leaders and has published several short stories and poems in literary magazines. The Ambitious Madame Bonaparte, coming out in December 2013, will be her first published novel.

She lives in northeastern Illinois with her husband, Michael, and a very pampered dog named Smokey. When she’s not writing, she can usually be found gardening, knitting, drawing, painting, or watching football.

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Using Information Lag in Historical Fiction

By Ruth Hull Chatlien

My forthcoming historical novel, The Ambitious Madame Bonaparte, is based on the true story of Elizabeth “Betsy” Patterson Bonaparte, the American beauty who married Napoleon’s youngest brother, Jerome, while he was visiting the United States in 1803. As I was planning the plot, one of the things I had to deal with was something I call information lag. In our current age of instantaneous communication, it can be hard to remember how long it once took for news to travel.

In the early 1800s, it took a day to travel the 45 miles from Betsy’s hometown of Baltimore to Washington. It could take four days to go from Baltimore to New York. The times for transatlantic travel were obviously much worse. An exceptionally fast ship could make the crossing in three weeks, but six weeks to two months was more typical. Not only were the travel times long, but mail was not secure. Travelers sometime amused themselves during long journeys by opening and reading packets of letters that were in transit.

Sometimes I had documentary evidence in the form of letters and news articles that told just exactly how long it took for specific pieces of news from Europe to reach the United States and vice versa. At other times, I had to dig around to find out what typical travel times might have been. Another complicating factor was that stormy weather made sailing the Atlantic in winter very difficult. Mail from overseas tended to slow down in the rough-sailing months.

As a result, information lag had a huge impact on the love story in my novel. Once Jerome and Betsy realized they wanted to marry, they had to decide whether to seek the blessing of the Bonapartes before they proceeded. At the time, Napoleon had not yet become emperor, but he was the First Consul, the chief executive of France, and he believed he had the right to direct his sibling’s lives. Betsy’s father wanted the marriage delayed while they waited for Jerome’s aide to travel to France to find out Napoleon’s reaction—or at least, gain the blessing of Jerome’s mother. Jerome vehemently opposed the idea.

Think about it. You’re a lusty young man, impulsive by nature, who is accustomed to using your position as Napoleon’s brother to get what you want. On a brief visit to the United States, you meet the most beautiful, witty girl you’ve ever encountered. You know your brother would expect you to ask him before you decide to marry, but frankly, you’re tired of being treated like a child—and it’s obvious you have many rivals for the young woman’s hand. Would you want to wait four months for a ship to cross the Atlantic and back again to find out what your family thinks of your choice?

No, I didn’t think so.

Although I’m sure the information lag was exasperating to Betsy and Jerome, as a writer, I was grateful for it because it added considerable tension to the plot. The delay in learning the Bonaparte reaction to the marriage, the months it took to learn the astonishing news that Napoleon had become emperor, and the lag in communication between the lovers once Jerome returned to naval service—all these played a significant role in my characters’ ability to make good decisions and chart the course of their lives. If Betsy and Jerome had better means of communication, their lives might have turned out quite differently than they did. But then again, if that had been the case, I probably wouldn’t have written my novel.

____________________________________________________________

 

Ruth Hull Chatlien has been a writer and editor of educational materials for twenty-five years. Her speciality is U.S. and world history. She is the author of Modern American Indian Leaders and has published several short stories and poems in literary magazines. The Ambitious Madame Bonaparte, coming out in December 2013, will be her first published novel.

She lives in northeastern Illinois with her husband, Michael, and a very pampered dog named Smokey. When she’s not writing, she can usually be found gardening, knitting, drawing, painting, or watching football.

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M. Louisa Locke

By Meredith Allard

M. Louisa Locke is the author of the Victorian San Francisco Mystery series and a trusted authority on independent publishing. The first book in the Victorian San Francisco Mystery series is Maids of Misfortune, and the sequel is Uneasy Spiritsboth bestsellers in the historical mystery category on Kindle. Maids of Misfortune is a 2012 B.R.A.G. MedallionTM Honoree.

Meredith Allard: When and why did you begin writing, and did you always write historical fiction?

M. Louisa Locke: I knew I wanted to write historical fiction by the time I reached high school. Books had played an enormously important role in my life growing up, and historical fiction was already my favorite. When I attended college in the late 1960s, however, I realized that if I had to have a day job (I assumed that writing wouldn’t support me) I would rather be a professional historian than a professor of English literature. I went ahead and got a doctorate in history, but while doing the research for my dissertation, I found myself daydreaming about writing a series of mysteries that would feature the different jobs women held in the late Victorian era.

In 1989, between teaching jobs, I decided to give writing a chance as a means of support, and I wrote the first draft of what was to become Maids of Misfortune. Annie Fuller, my protagonist, makes money by running a boarding house (a common occupation for widows like Annie), but she also supplements her income giving business advice as a pretend clairvoyant (again, a frequently held female occupation at the time.) In this first book, Annie also goes undercover to work as a domestic servant, the most prevalent job for women in the nineteenth century.

Soon after I completed this first draft, I not only received a series of rejections from publishers but I also got a full-time job as a history professor at San Diego Mesa College. Writing again took a back seat. Twenty years later, when I semi-retired from college teaching, I picked up the manuscript, rewrote it extensively, and published it as both a print and an ebook. The sales on Maids of Misfortune were so strong that I was able to retire completely to become a full-time writer, publishing Uneasy Spirits, the second book in my Victorian San Francisco Mystery series, in 2011. I plan to publish the third book, Bloody Lessons, in the early Fall, 2013. It may have taken me 50 years, but I finally am realizing my childhood dream of writing historical fiction!

M.A.: On your website you mention that you did your Ph.D. dissertation on the late nineteenth century western working woman. Your historical mystery novels are also set around the same time. What brought about your fascination with the western working woman?

M.L.L.: I think that the late 19th century fascinated me because of the parallels I saw to my own generational experience (I was born in 1950 and grew up squarely in the middle of the sixties social movements.) The Civil Rights movement, the women’s movement, and the demand for political reform that came out of Watergate all had their counterparts in the 19th century. In both eras, there were strong pressures to keep women confined to the role of wife and mother. Yet, in both time periods there were women who challenged those traditional ideals.

In the late 1970s, I was studying to become a history professor when less than 20% of all history professors were women, so I was surprised to learn in my research that women had held a higher proportion of professional jobs a hundred years earlier than they did when I was growing up. I wanted to know about these women and the choices they made, so I did a statistical analysis of women who held income-producing occupations based on the 1880 Federal manuscript census. I chose to study women in San Francisco, Los Angeles, and Portland because I lived on the west coast and most of the research on working women had focused on eastern cities. Naturally, when I started to think about writing fiction, I turned to the women I had been studying. They had become very real to me, and I wanted to make them come alive to others.

M.A.:  I love to read mystery novels, but I have yet to try to write one. What are the particular challenges of writing mystery?

M.L.L.: As with most genre novels, there are certain conventions that you need to keep in mind when writing mysteries. Even if you disobey those conventions (for example, don’t have a body in the first chapter) it needs to be for a good reason. Otherwise, you can lose your reader. People who read mysteries expect that there be some sort of puzzle that is going to be solved. The puzzle can be a death or some other crime, and the person who solves the mystery can be a professional or an amateur. But as a mystery author, you need to know what that crime is (what was done), have developed some red herrings (people who might have done the crime, but didn’t), and eventually provide enough clues so that the reader has a chance to guess who actually committed the crime along side the detective. Then, depending on the sub-genre of mystery, you need to balance those basic mystery plot requirements with effective character development, detailed setting, believable romance, sufficient suspense, etc. I would say that achieving that balance is one of the most difficult tasks any mystery writer faces.

M.A.: You mention in your bio that your first historical mystery novel, Maids of Misfortune, was inspired by a diary entry from a domestic servant, and that you found that diary entry while researching your dissertation. How do you go about researching the history in your stories? Have you traveled for research purposes?

M.L.L.: Since I spent years doing research on San Francisco and the women who worked there in the 19th century, I don’t have to do a lot of new research for my novels. However, the internet has made the supplementary research I do for each story much easier. There are websites that tell you when the sun and moon rose on a given day in 1880, what words were in common usage then, and what a Victorian corset feels like. The main problem is not letting the research suck you in so that you don’t get the words onto the page.

Because the sections of San Francisco that I set my novels in were devastated by the Earthquake and Fire of 1906, I do have to spend a good deal of time looking at old maps and pouring over old photographs to make sure my descriptions are accurate. But I also visit San Francisco frequently, trying to come at the same time of year that the current book is set in to get a feel for the weather, where the sun hits buildings, and so forth. I love walking the streets between the different places in my books, imagining….

M.A.:  How would you describe your novels to potential readers? What makes your novels different from others about similar eras?

M.L.L.: Many of the other successful Victorian era mysteries tend to portray the violent and sexually exploitative aspects of 19th century urban culture. They are darker in tone than my books and often have more in common with contemporary thrillers. While my books don’t neglect some of the important issues of the day, for example the extreme anti-Chinese sentiment in the west at this time, my goal from the first was to write historical mysteries that were traditional cozies in style.

Annie’s boarding house reflects the kind of small community you find in a cozy, and there is a strong thread of humor and romance throughout my stories as well. The sex and violence is generally off-stage, and there is even a cute dog. On the other hand, I believe that because my historical mysteries are set in real places, with characters facing real issues of the time period, readers can feel a greater connection to the people in my stories than they may do with the quirky characters found in many contemporary cozies.

M.A.: All authors have a different path as they seek publication. What was your journey to publication like? What can you tell us about the joys and the challenges of being an independent author?

M.L.L.: While I pursued my career as a college professor, I watched as my writer friends were treated in the increasingly hostile environment traditional publishing. As a result, when I decided to give publishing another try in 2009, I was open to considering the opportunities that self-publishing and the ebook revolution were providing. One of the major considerations for my decision to become an indie author was how long it took (and still takes) for a book to make it into print the traditional way. I’d conceived of Maids of Misfortune thirty years earlier, I’d written it twenty years earlier, and I didn’t want to wait another 2 years or more to get it into the hands of readers. If no one liked it, so be it. At least I would have given it a try.

Once this decision was made, it only took a few months for me to master how to design, and format ebooks and print books, and it took only 24 hours to upload the Maids of Misfortune. Within a day I had my first sale and my first positive review!

I also enjoyed learning the technical and marketing aspects of self-publishing. I am a life-long student, as well as a social scientist and a teacher, so learning how to publish independently, experiment with different marketing strategies, and then being able to share what I have learned with other authors, has simply added to my satisfaction with the process.

I can say without reservation that my decision to self-publish was the best decision I ever made. Besides the fact that my books have been a financial success, every positive review, every letter from a fan, every comment on my Facebook page is pure gold.

M.A.: I was looking at the Historical Fiction Authors Cooperative, and I can’t believe I’m only finding out about it now. It is definitely something readers of Copperfield should know about. How did the Historical Fiction Authors Cooperative come about?

M.L.L.: One of the upsides of the ebook/indie author revolution has been that books like Maids of Misfortune that weren’t making it through the gatekeepers/bottlenecks of agents, publishers and booksellers, are getting published and in the hands of readers. However, the question has become: how is a reader going to be able to sift through all those books and find the right one for them, and how is an author going to make sure their books are visible to the right market?

Book review websites like Copperfield Review is one answer and The Historical Fiction Authors Cooperative (HFAC) is another. HFAC was formed by a group of independent authors who recognized that there was strength in numbers. Behind the scenes we share information on technical issues (like cover design, formatting, getting books into the various ebooks stores like Kindle and Nook), and we help cross-promote each other’s work. All of this helps elevate the quality of our work and its visibility.

But the most important tasks were to recruit great historical fiction authors and design where readers could find our work. The group started less than three years ago with just a handful of authors, but we now grown to 40 members with 140 separate titles in our catalog, which can be found at HFeBooks.com.

M.A.: What can readers who love historical fiction gain from visiting the Historical Fiction Authors Cooperative site?

M.L.L.: A fan of historical fiction can discover on our website high quality historical fiction that they wouldn’t find in traditional bookstores. In some cases the books are out-of-print books our authors have republished, in others, they are new independently published work by authors who are still traditionally published, and in most cases these are books by innovative independent authors.

Because membership in HFAC is by invitation only and we thoroughly vet those members and their work before inviting them, a reader can be assured that the books in our catalog are grounded in accurate historical research, are professionally edited, and well-written. We have listed the books by historical eras, as well, since many fans of historical fiction have favorite periods they like to read about. You can also find out about the author, the other books they have written, and you can read interesting articles by them about their historical research on our blog.

Finally, if you subscribe to the website, you will be alerted every week about discounts and free books that are being offered, as well as when a new book by one of our members is published. Other ways you can be alerted to this information is to follow us on twitter or Facebook.

M.A.:  Is there a way historical fiction authors can be considered to be included in the cooperative?

M.L.L.: The vetting process is very slow since at least two members have to read and evaluate an author’s work before extending an invitation. As a result, most of our recruitment comes from recommendations from other members. We also look at those ebooks that are successful in historical fiction categories in ebookstores.

The bottom line is: write high-quality historical fiction, market it well, and, in time, as you gain reader recognition there is a good chance your work will come to our attention.

M.A.: Which authors are your inspiration—in your writing life and/or your personal life?

M.L.L.: Georgette Heyer was my first inspiration. She was a serious historical scholar, but the light romantic Regency novels she wrote are a continuing delight, and for over fifty years I have turned to her books when I need to escape the painful realities of this world. From Dorothy Sayers, and her Lord Peter Wimsey/Harriet Vane mysteries, I learned how to combine romance and crime solving. From Tony Hillerman’s New Mexico mysteries, I discovered that the importance of setting, and Ellis Peters’ Brother Cadfael series gave me the idea of combining historical fiction and mysteries. There are many great contemporary writers who have continued on in these traditions, but these were my first inspirations.

M.A.: What advice do you have for those who want to write historical fiction or mysteries?

M.L.L.: This may seem trite, but it is true. Read. Reread your favorite books in the genres you wish to write in, but do so looking at what worked to make them your favorites. Is it the characters, the plot, the pacing, the background material? Read new books, and here you might find yourself analyzing what doesn’t work for you. Why did you get impatient at some point, never really care for the main character, become confused? Do you seem to like books written in the first person? Third person? Shifting points of view?

If you are pursuing historical fiction, skim through general texts about the period, read autobiographies and contemporary fiction of the time. All of this should give you a general feel for the historical setting. But don’t spend too much time in detailed research until you are actually writing the book. Spending days figuring out what to call the kind of carriage your character might own, before knowing if that carriage will even figure in the story, can be a waste of time. This is the stuff you can fill in later as you go along (or after the first draft is written.)

M.A.: What else would you like readers to know?

M.L.L.: For those who think they might be interested in my work, do check out my website/blog or my Facebook author page.  I also have two short stories that feature minor characters from my full-length novels that you might find amusing. They are Dandy Detects and The Misses Moffet Mend a Marriage.

________________________________________________________________

Meredith Allard is the Executive Editor of The Copperfield Review.

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Donna Russo Morin

By Meredith Allard

Donna Russo Morin is an award-winning author of historical novels, including The King’s Agent, To Serve a King, and The Secret of the Glass (Kensington Books).

Meredith Allard: On your website, you mention how growing up during the turbulent 60s gave you grist for your writing. When and why did you begin writing, and did you always write historical fiction?

Donna Russo Morin: My first stories were written as soon as I learned how to write; my mother still has them, the paper yellowing, the creases growing weak with age. I wrote a great deal of poetry during those turbulent days of the 60s while I was living the turbulence of my own puberty. Then the influence of the King took over (Stephen, that is) and I did find my first fiction published in the form of short horror. But all the while I was reading, voraciously, historical fiction, from Gone with the Wind to Leon Uris’s Trinity. When I discovered Diana Gabaldon’s Outlander series, when I heard the perfect merging of fictional characters within a detailed historical construct, I knew I had heard the sound of my own writer’s ‘voice.’

M.A.: How did you decide which era(s) to focus on for your historical novels? Did you have a previous fascination with that time?

D.R.M.: My first book, The Courtier’s Secret, was a self-fulfilled wish…to be a Musketeer, something I wanted to be ever since the 1973 version of The Three Musketeers with Michael York and Rachel Welch. The second book came from a two minute news story on the glassmakers of Murano, about their continuing efforts to keep their process secret, The Secret of the Glass. The third actually came from the glut of Tudor books on the market and the question I asked myself…how awful I felt for all the royals who ruled simultaneously with Henry VIII; they were so very ignored (for the most part). That’s when I found Francois I and the French court. It was a world filled with intrigue with much more powerful women. Where better to put a young female spy who must make a decision…To Serve a King.

My research on Francois I led me to his real life art agent, The King’s Agent, who procured pieces by the great Italian Renaissance masters by any means. Battista della Palla truly was the Indiana Jones of his age; I knew he deserved his own book. That book led to a fascination with the Renaissance, a period I am now fully ensconced in, completely obsessed with, and am writing a trilogy set within the height of the time and in its birthplace, Florence. Having full Italian heritage and in the process of getting my Italian citizenship, I think it has all led me to where I belong, my home…Renaissance Italy!

M.A.: Your novels are so lush with the history you’re writing about. How do you go about researching the history for your novels? Do you travel to the places you write about?

D.R.M.: My research is a combination of the academic to the practical. For most books, I spend eight to ten months in the research phase. That includes reading as many primary source materials (letters, diaries, journals, manifests) as I can get my hands on as well as the books that specialize either in the era or the people who inhabited it. But I also include some form of practical research. For my first book, I learned how to fence. I attempted to blow glass for my second book. For my third I learned how to shoot a bow and arrow (archery has now become a full blown hobby for me and I own my own compound bow). For my latest release, I learned how to dagger fight. Right now I am immersed in the techniques of painting that were used in the Renaissance period with many visits to many museums and many sketches and antique paint mixing techniques attempted.

Unfortunately, I’ve only been able to travel to the location of my first novel, The Courtier’s Secret, which was set almost entirely at the Chateau Versailles. Spending hours there truly helped me infuse realism into the work. But thanks to the ever evolving internet, there are so many virtual tours available, it is much like traveling there. As I do feel strongly that my work going forward will be anchored in Italy, I do hope to live there a few months out of each year.

M.A.: How would you describe your novels to potential readers? What makes your novels different from others about similar eras?

D.R.M.: They are a vibrant and fast-paced merging of the factual and the fictional to take the reader on an adventure impossible in modern day, where I reveal not only what happened in the past, but how it truly felt. I don’t write bio-fic, which is a prevalent form of historical fiction, but I set my characters next to multiple historical people, allowing the reader to meet and interact with many of the great personages of the past through the experiences of my main characters. I also tend to stray from ‘trend’ topics. My Italy books were released long before Showtime’s Borgias. Renaissance Italy was the birth of new thought and innovation, new ways of life—both grand and lascivious. I endeavor to bring the rare gems of history to light.

M.A.: I always thought if I were a little braver I’d have become an actor. Maybe in my next life… What drew you to acting? Do you see any similarities between acting and writing fiction?

D.R.M.: Acting came to me actually. Though I had done a great deal of school acting (a shy extrovert finds a great outlet there), it wasn’t until I was walking through the local Sears store where I was ‘discovered’ and put in my first television commercial. Modeling and acting became a wonderful resource for income, especially while paying my way through college. Though I tried to ‘make it’ as a rather short woman (for modeling at 5’5) I never made it to ‘the big time.’ It has, however, been a lucrative if sporadic part-time profession. The greatest rewards have been working with (with being relative as I was an extra in The Departed and a Showtime series The Brotherhood) the likes of Martin Scorsese, Martin Sheen, and Jason Isaacs (Lucias Malfoy of Harry Potter).

I do think the ability to completely immerse myself into a character, whether it is as an actor or writer, is invaluable. For that is what I do whenever I write…putting myself ‘into’ the character, imagining what they would be feeling and doing in the circumstances my writing has put them in. It is an empathy that comes across on the page I think…I hope.

M.A.: All authors have a different path as they seek publication. What was your journey to publication like?

D.R.M.: Twisted.

In truth, I had no choice but to become an author, it was imprinted in my DNA. While I started writing as soon as I learned how to hold a pencil, external forces tried pushing me in other directions, then true destiny took over.

I took my first degree in Communications and mapped out a fairly successful freelance writing career while working a ‘day job’ in public relations and advertising. In addition to inclusion in the two anthologies, I was on staff at a local magazine, and my book review career, which began in 1988, hit a pinnacle of sixty published reviews, including publication in The Milwaukee Journal, The Hartford Courant, and Foreword Magazine.

Novel writing was always the ultimate goal. It took me seven years to write my first novel–giving birth to two boys at the same time–a medieval fantasy liberally laced with horror. It sits in my hope chest still, though I still have ‘hope’ for it.

In the summer of 2002, I came down with what I thought was the flu. After two and a half years and more doctors than I care to remember, I was diagnosed with Lyme Disease. Six weeks later, my father passed away from cancer. I retreated from the world and into my books and writing. I re-watched The Three Musketeers and remembered how much I loved it and all the Musketeer stories. I remembered how I wanted to look like Rachel Welch/Constance (who doesn’t?) but I wanted to be Michael York/D’Artagnan. The idea for The Courtier’s Secret, my first book, was born. While being treated for the Lyme, I conducted nine months of research and wrote the first draft in nine weeks.  I found an agent in two months and she got me my first two book contract in four months. The rest, as they say….

M.A.: Which authors are your inspiration—in your writing life and/or your personal life?

D.R.M.: Stephen King taught me how to write, though he doesn’t know it. His talent for telling a complex story in a simple manner, as if he sat next to you and told it to you, was my tutorial. Diana Gabaldon’s amazing talent for merging fact and fiction in a dynamic manner became my ideal. J.K. Rowling’s triumph over a broken marriage and harsh financial situations is my own story. But, in truth, any artist—be it writing, painting, music—who is willing to forgo material wealth for the sake of the craft is worthy of emulation. People who want ‘fame and fortune,’ who think ‘I’ll write a book and make a lot of money and become a celebrity’ I find abhorrent. But those that want to create something magnificent for the sake of its creation, whatever the cost, those are the people who inspire me.

M.A.: I was reading about your latest project on your website and it sounds amazing. I can’t wait to read it. What can you tell us about it?

D.R.M.: Ah, speaking of destiny. As I said, my third book, To Serve a King, brought me to Francois. Francois was responsible for sowing the seeds of what would become, for us, the Louvre Museum. He was obsessed with art. He had, in Italy, an art agent, The King’s Agent (title of my latest book), who would procure from the Italian Renaissance greats art for Francois’ collection. These two books, and their emphasis on art, led me deeper and deeper into the Renaissance and the evolution of art that took place there. But, as always, I was frustrated by the ‘men’s club’ that is history. So I started researching women artists. That’s when it came to me.

The trilogy depicts the birth of the female Renaissance artist set against the turbulence and brilliance that is Florence in the late 15th century. But it is, as well, an homage to the bonds between women, their steely strengths and their petty weaknesses. It is full of intrigue, murder, revenge, love, sex, Leonardo da Vinci, Michelangelo, Botticelli, the great works of the age and how they were created. It is one of the most magnificent moments in history come to life through the experiences of a myriad group of women.

M.A.: What advice do you have for those who want to write historical fiction?

D.R.M.: Be passionate about the era you write about. Don’t just pick it because it seems to be what’s selling.

Learn ten times more than you need to know or that you’ll include in the book and use only the material that serves the plot of the story. (But save ALL your material…you never know when you may use it elsewhere.)

If you ‘tweak’ history (which you may have to do in order to tell your fictional story) TELL THE READER! That’s what Author’s Notes are for.

Give credit to the hard work of the nonfiction historians from whom we get our glorious material. Include a bibliography even though you write fiction. They deserve it.

M.A.: What else would you like readers to know?

D.R.M.: I include Discussion Questions in the back of every one of my books. Share the stories with friends and family. Sit together and discuss the works, go through the questions, let your minds go where they lead, tell your own stories. If you belong to a book club, contact me and we can have Skype discussions. But most of all, if you learn something of the past from my books, if you feel something you’ve never felt before…I’ve done my work and I thank you for allowing me to do it.

About Donna Russo Morin:

Donna Russo Morin’s passion for the written word began when she was a child, took on a feminist edge as she grew through the sixties, and blossomed into a distinctive style of action-filled historical fiction at a defining moment in her life. With two degrees from the University of Rhode Island, the state in which she was born and raised, Donna’s first book, The Courtier’s Secret (2009) won RWI-RWA’s Best First Book Award and was a finalist in the National Readers’ Choice Award. The Secret of the Glass (2010), her second book, received a Single Titles Reviewers’ Choice Award and was a finalist in the USA Best Books of the Year Contest. Also a recipient of a Single Titles Reviewers’ Choice Award and a finalist in the USA Best Books of the Year Contest, Donna’s third Book, To Serve a King (2011), was a finalist in Foreword Magazine’s Book of the Year Award as well. The King’s Agent (2012), Donna’s latest release, received a coveted starred review in Publishers Weekly. Donna is currently at work on a major trilogy about the clandestine birth of the female Renaissance artist set in turbulent Medici ruled Florence. Donna is a proud, single mother of two sons, Devon and Dylan—a future opera singer and a future chef—her greatest works in progress.

Donna’s books on Amazon http://www.amazon.com/s/ref=nb_sb_ss_i_0_10/184-1092533-4046236?url=search-alias%3Daps&field-keywords=donna+russo+morin&sprefix=donna+russ%2Caps%2C298

Donna’s books on B&N http://www.barnesandnoble.com/s/donna-russo-morin?store=allproducts&keyword=donna+russo+morin

donnarussomorin.com 

donnarussomorin.blogspot.com 

Twitter @DonnaRussoMorin

Facebook http://www.facebook.com/DonnaRussoMorin

 

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