Why Blog? Benefits of Blogging for an Author of Fiction

Back from a wonderful weekend at the 2013 Historical Novel Society Conference, where I moderated a panel discussion on blogging. "Virtual Salon: The Historical Fiction Blog" brought together five experienced panelists to discuss the role of blogging in the historical fiction community and to share insight on how to create and maintain a successful blog. I examined what needs blogging fulfills for a writer of historical fiction and how an author benefits from maintaining a blog. As promised, I've posted my remarks below.

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Today, writers hear over and over the importance of having an “internet presence.” We are warned that interested agents will immediately Google us, as will readers who hope to “connect” with authors of the books they love. This internet presence should, at the bare minimum, consist of an attractive and up-to-date website that lists an author’s books, biography, appearances, and contact information. But a website is static, one- sided. To engage fully with the reading public and benefit from the exposure the internet offers, an author should consider a blog, a discussion site featuring discrete entries called “posts” about topics of the author’s choosing.

A discussion necessarily involves more than one person. In the past, discussions of books and literature often took place in a salon, where writers, critics and readers gathered in person. Nowadays, this interaction often takes place virtually, through the medium of a blog. This afternoon we will examine blogging from the three vantage points of the “blogging triangle”: author, reader and reviewer. Each of these participants approaches blogging with different needs and expectations; each benefits in different ways from reading or maintaining a blog. The interaction of writer, reader and reviewer through blogs helps make the historical fiction community the vibrant place that it is.

Let’s begin with the author. What needs might prompt an author to start blogging? One of the strongest is the need for community. Many authors turn to blogging because it provides an antidote to the solitary activity of writing. Blogging provides a way for a writer to engage her readers and other writers in an active exchange of ideas. She can propose topics, express her opinion on them, and through the comments on her blog discover and respond to what her readers think. Other needs blogging fulfills for an author might include the desire to share interesting research, the need to contribute to the marketing one’s book, and a wish to provide an accurate picture of the person behind the books.

The benefits of blogging for a fiction author are many and change as the author advances in her career. Most don’t require much explanation. Maintaining and updating a blog builds discipline, forcing a writer to write to a schedule and within a pre- determined framework. It sharpens writing skills and helps an author develop her voice. It provides a forum for her to share and discuss the historical research that underlies her novel. It familiarizes her with readers’ tastes and interests, information that can be of great value in crafting future books. Blogging can also be a way of “paying it forward,” of helping new writers by offering advice based on one’s own experience in navigating the publishing world, or by reviewing and publicizing other author’s works.

Two benefits of blogging are particularly valuable at the outset of a writer’s career. First, blogging allows an new author to establish credibility. By maintaining a blog that offers reliable, interesting content, a writer of historical fiction establishes herself as an expert in her niche. With each post, she builds her credibility and strengthens her reputation as a trustworthy historian and skillful writer. Readers grow to value her insights and opinions. If a writer is able to create this trust through a blog before her novel is published, readers will be eager to purchase the book once it comes out. Secondly, blogging helps a writer build both her audience and her professional network. Posts on historical topics (rather than simply literary or publishing ones) will draw hits from a wide range of individuals, from students to teachers to specialists to random web surfers, all of whom might be tempted to pick up the novel of a blogger they admire. Blogs allow readers to get a feel for an author’s interests and writing style and anticipate new releases. Blog names are easy for them to pass on to acquaintances who might find an author’s work interesting. As for building a professional network, a generous blogger who reviews others’ books, celebrates others’ successes, and comments on colleagues’ blogs, will benefit both professionally and personally from the new contacts and friendships she makes. These bonds will prove invaluable when the time comes to ask for blurbs, publicize new releases, and learn “inside information” about the publishing world.

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The session continued as follows:

Deborah Swift spoke on the blog reader's needs and benefits.

Amy Bruno followed with the book reviewer's needs and benefits.

Deborah explored how to find a niche and establish your voice.

Heather Webb spoke on effective blogging strategies: finding topics of interest, scheduling, blog layout.

Amy provided additional strategies: contests, blog-hops, reviews.

Heather Rieseck discussed blogging etiquette and ethical guidelines.

Heather Webb examined how to expand your audience.

Heather Rieseck explored how to measure your blog's success.

You can find a summary of Heather Webb's remarks on her blog. Deborah Swift explains why she maintains four blogs. If you are interested in purchasing an audio recording of the session, you can do so here.

Thank you to the conference board for inviting us to speak and to all who attended and gave us such marvelous feedback! It was a great experience for us and we hope we were able to provide some useful advice.

Interview with Susan McDuffie, author of THE STUDY OF MURDER

Susan McDuffie is author of the medieval Muirteach MacPhee mysteries, A MASS FOR THE DEAD (2006), THE FAERIE HILLS (2011), and A STUDY OF MURDER (September 2013). Her interest in Scotland was fueled by stories of the McDuffie clan's ancestral lands on Colonsay and their traditional role as "Keeper of the Records" for the Lord of the Isles. She will be speaking on the Sunday morning panel "Historical Fiction: The Search for Research" at the 2013 Historical Novel Society Conference next weekend. You can learn more about Susan and her novels at her website.

1. What got you first interested in historical fiction?

I have always loved historical fiction. I guess I’ve always read to escape and the contemporary world just lacks some luster! In elementary school I used to choose books according to the time period they were set in. Two early favorites were THE FORGOTTEN DAUGHTER by Caroline Dale Snedeker and TWO SWORDS FOR A PRINCESS by R.J. Green.

2. How do you find the people and topics of your books?

My first mystery, A MASS FOR THE DEAD, was somewhat based on the early history of the McDuffie clan. They were the record keepers for the Lords of the Isles, and that always sounded wonderfully mysterious to me as a child. I later found a little booklet that listed all the clan chiefs of the McDuffies, as well as the priors of Oronsay. Muirteach, my sleuth, was invented but the McDuffie Chief and the prior of Oronsay existed. Their characters, of course, are fictional.

3. Do you follow a specific writing and/or research process?

For my present work in progress, I’ve gotten wonderfully carried away on some intriguing research tangents. Hopefully they will all fit into the book. Researching Henry Sinclair led to a rather intensive investigation of the Norse colony in Greenland and more! As I read more ideas came up I wanted to explore. Thank goodness it’s so easy to find out of print books these days!

4. For you, what is the line between fiction and fact?

If characters are factual I try to stick with real dates and real events in their lives. For example, THE STUDY OF MURDER, which comes out in September of this year, takes Muirteach to medieval Oxford with Donald, the son of the Lord of the Isles. Donald did actually attend Oxford for a few years in the 1370s.

5. Is there an era/area that is your favorite to write about? How about to read?

I’ve written both Regency and medieval. You have to get into a certain mindset, and I remember when I switched from Regencies to writing the Muirteach MacPhee mysteries it took a little while to find the right voice. As far as reading goes, I love to read about many eras. Nobody does Egypt like Pauline Gedge, I’ve enjoyed Gillian Bradshaw’s books about the classical era, as well as her newer books about the English Civil War, and Karleen Koen’s books set in the 17th and 18th century are wonderful, just to mention a very few.

6. What are your favorite reads? Favorite movies? Dominating influences?

The one book I would take to a desert island is SWORD AT SUNSET by Rosemary Sutcliff, a wonderful retelling of the story of Arthur. Movie-wise I have a couple of strange favorites: The Navigator, in which some 14th century Cumbrian miners wind up in modern New Zealand and Andrei Rublev, about a Russian icon painter.

7. Is there a writer, living or deceased, you would like to meet?

I’d love to meet Ellis Peters. She and her Brother Cadfael books inspired me to write historical mysteries.

8. What book was the most fun for you to write?

THE STUDY OF MURDER was fun; in some ways the tone is a little lighter than the first two mysteries. And I enjoyed writing about drunken adolescents and Muirteach’s futile attempts to control their behavior!

9. Can you tell us about your latest publication?

THE STUDY OF MURDER comes out in September of this year and pits Scottish sleuth Muirteach MacPhee against a mysterious adversary. At the command of the Lord of the Isles, Muirteach and Mariota accompany the lord’s thirteen-year old son to Oxford. Shortly after their arrival, a winsome tavern maid disappears. When an Oxford master is found brutally bludgeoned to death, stirring the ever-simmering discord between townsfolk and university students, Muirteach investigates. Gleaning clues from a cryptic manuscript, a determined Muirteach tracks a wily killer through a dark and twisted labyrinth of deceit.

Conference Countdown!

In a little less than a week, I'll be at the 2013 Historical Novel Society Conference in St. Petersburg, Florida. I'm looking forward to meeting with my fabulous agent, Stephanie Cabot, as well as the members of my writing group (Heather Webb, Marci Jefferson, Susan Spann, Amanda Orr, Janet B. Taylor, DeAnne Smith, Arabella Stokes, and Candie Leigh Campbell--unfortunately, Lisa Janice Cohen is unable to make it.) I love meeting colleagues from past conferences, as well as making new writing friends. If there are any readers of Writing the Renaissance who will be at the conference whom I have not yet had the pleasure of meeting in person, please leave a comment below and I will make the best effort possible to find you and make your acquaintance! It promises to be a wonderful three days of learning, laughing and networking. I won't have a laptop with me, but look forward to some posts about the conference sessions when I return.

Interview with Denise DiFulco, Freelance Writer and Editor

Denise DiFulco is a freelance writer and editor whose articles have appeared in The New York Times, Washington Post, Ladies Home Journal, and numerous other publications. She is currently working on her first book, a historical novel that spans fifty years and four countries. She will be speaking on the Sunday morning panel "Historical Fiction: The Search for Research" at the 2013 Historical Novel Society Conference in St. Petersburg, Florida. Visit her website here.

1. What first got you interested in historical fiction?

I’ve always loved history. In college I majored in history, what some might call the “easy history” of the 20th century. But that period always fascinated me most. I was so obsessed with World War II that I would head up into the university archives to pull the West Point war atlases for the various theaters of operations. Sound easy?  Not really. Let’s just say I wasn’t necessarily seen as dating material in college.

2. How much research have you done for your novel?

Sometimes I feel as if it never will be done. There’s always more to read, more to learn. Already I’m nearly four years into my research, which includes genealogical inquiries since the book is loosely based on my maternal grandfather’s life story. Part of the issue is that the novel spans so many years and so many countries. It starts in Germany in 1910, detours to South America in the early 1930s, then finishes in Cuba at the time of Castro’s Revolution. Getting the details and tone just right for each time period and setting has been time consuming, to say the least. Most days I just want to put words on the page, but first I need to know what that stewardess would have worn on a flight in 1953. What kinds of planes were even in the air then?

3. How do you organize your research?

For this book I began with a simple timeline, combining key dates from my grandfather’s life with major world events, as well as local history in the places where he lived. In many ways he was a victim of history, so it was critical for me to know what his mindset might have been at a particular time. I also maintain a bibliography to keep track of what materials I’ve read and what I’d still like to read. Beyond that, Scrivener helps me to stay organized. I can keep character notes and old photos and maps all in one place that’s accessible with a single click. The other thing I’ve found useful is Google Maps. I mapped all the locations where my characters live and work, so I can see how they would move about and also know what was in their range of vision. It has been invaluable for scene setting because I can imagine the physical world as they viewed it. It also helps me understand better how they went about their daily lives.

4. For you, what is the line between fiction and fact?

Since I’m writing about people who actually existed and of whom some record exists, that line would appear to be quite thin. But while the story follows the trajectory of my grandfather’s life, ultimately the main character is not actually him. It’s something of which I’m constantly reminding myself. In fact, it wasn’t until I finally divorced the real person from my protagonist that I was able to progress with the story. One of the reasons I’m writing this novel is because there is so much I don’t know about what actually happened to my grandfather. I’m imagining his life for him, which by definition makes this fiction. Above all, I want to be true to the time, the settings, the history—the things that are measurable and real. 

Interview with Donald Michael Platt, Author of HOUSE OF ROCAMORA

Donald Michael Platt has published two historical novels, ROCAMORA and HOUSE OF ROCAMORA. The books tell the story of Vicente de Rocamora, a Spanish Dominican monk and confessor to the Infanta, who openly converted to Judaism, studied medicine, and became a medical doctor and philanthropic leader in 17th century Amsterdam. Donald has also completed a novel set in the 9th century Carolingian Empire and is polishing a novel about World War II American and German fighter aces. He is the author of several nonfiction works and has written for television as well. He will be speaking on the Sunday morning panel "Foreign Language, Slang and Dialect in Historical Fiction" at the Historical Novel Society Conference. Visit Donald's website to learn more about him and his work.

1. What got you first interest in historical fiction?

My parents were voracious readers, and I read early such books as ANTHONY ADVERSE, CAPTAIN BLOOD, and GONE WITH THE WIND. If I saw a film based on History, I read the real story and novels about the same period. All before age 14.

2. How do you find the people and topics of your books?

Inspiration for non-historical fiction -- little known characters who led interesting lives for Historical Fiction.

3. Do you follow a specific writing and/or research process?

Outline the story, list initial characters, and traits, look for a "daily life" book of the period. Write and simultaneously research for the first draft.

4. For you, what is the line between fiction and fact?

No fine line except dates and events. Does anyone take a court gossip 100%? Foolish to do so. I subscribe to Napoleon's aphorism "History is a myth men agree upon." Then let mine be the definitive myth.

5. Where do you feel historical fiction is headed as a genre?

Where is HF heading? Alas, except for bodice rippers with Fabio covers, it will be for an elite few given the U.S. education system with most teachers who are sociology, economic, poli sci, psych, and PE majors teaching U.S. and Eurpean History in our public schools.

6. What are your favorite reads? Dominating influences?

I was influenced early by Sabatini, Costain, and Shellabarger, later by Dorothy Dunnett.

7. What book was the most fun for you to write?

All books are fun to write; otherwise why continue?

8. Do you have a most interesting question or crazy anecdote related to your writing you would like to share?

I have written two novels about the little known Vicente de Rocamora, and a direct descendant contacted me after reading both my novels about him. He loved the books, appreciated my research, and after a few exchanges was excited that I gave him information he did not have.

9. Can you tell us about your latest publication?

My most recent publication HOUSE OF ROCAMORA continues the second half of Vicente de Rocamora's life in 17th century Amsterdam in which he goes from Dominican royal confessor in Spain to Jewish physician at age 46, married to a 25 year old, father of six or nine children who survive beyond the first month of birth, receives citizenship equal to Dutch Christians, a philanthropist, and judge of poetic competitions.

My Own HNS Conference Interview and Panel Discussion

A big thanks to THE WITCH'S TRINITY author Erika Mailman for posting my HNS Conference interview today on her blog, World of Mailman.

At the conference, I will be facilitating a Saturday afternoon panel discussion on blogging. Here is a description of our session:

Virtual Salon: The Historical Fiction Blog

Today's readers (and publishers) expect authors to have an internet presence. A blog is an effective way to join the writer, reader, and reviewer of historical fiction in dynamic interaction about novels and the history that infuses them. This panel will not only examine the benefits an author derives from maintaining a blog at various stages of her career, but will explore how blogging serves the historical fiction community as a whole. Topics include: finding a niche and establishing a voice; effective blogging strategies (regular features, guest posts, contest, blog tours); blogging etiquette; expanding one's audience; and measuring success. Panelists include both authors (Julianne Douglas, Heather Webb, and Deborah Swift) and successful blogger-reviewers (Amy Bruno and Heather Rieseck). Discover how to become part of the vibrant historical fiction community through blogging!

There's still time for suggestions about topics you'd like to see us address. Just leave a note here in the comments.

See you at the conference!

Interview with Lev Raphael, author of ROSEDALE IN LOVE

Today's featured Historical Novel Society Conference speaker is Lev Raphael, author of twenty-four books, among them ROSEDALE IN LOVE: A GILDED AGE NOVEL. The son of Holocaust survivors, Lev has published countless articles, stories and essays in a wide range of Jewish publications and has keynoted three international Holocaust conferences. He has been resident book reviewer for two NPR stations in Michigan and had his own public radio talk show. He currently blogs about books and culture for The Huffington Post. His novel ROSEDALE IN LOVE re-imagines Edith Wharton's HOUSE OF MIRTH from the viewpoint of one of Lily Barton's despised suitors. You can learn more about Lev Raphael and his work at his website. At the HNS Conference, Lev will share the wealth of his public-speaking experience in the Saturday morning session "How to do a Killer Reading."

1. What got you first interested in historical fiction? 

I've loved reading history since elementary school, especially books that had genealogies and maps about the ebb and flow of battles and kingdoms. Maybe also because I'm also a child of history myself in this way: both my parents were Holocaust survivors and I would never have been born had war not uprooted them from their homes and brought them together in a displaced persons camp.  Books about W.W. II and set during the war have fascinated me for a long time and eventually I will write my own.

2. How do you find the people and topics of your books? 

They always find me.  My mind is like an airport: planes are always circling, waiting to land (though there aren't long lines at Security and I can always keep my shoes on). I wish I had a clone to help me write. Or that I could type faster. 

3. Do you follow a specific writing and/or research process? 

Every book has its own genesis, demands, rhythm, pleasures and challenges.  If I tried imposing a system, it wouldn't feel natural; I let the book shape how I work on it. For instance, I've only done one page of my next novel, but I'm heading to Belgium next month to do site research before I write one more word. This time, I know being there is essential so I can soak up atmosphere, take photos and notes. 

4. For you, what is the line between fiction and fact? 

That's actually not a problem I worry about since I'm not writing journalism, though I have reviewed forThe Washington Post and many other newspapers, magazines, and NPR stations. 

5. Do you have an anecdote about a reading or fan interaction you'd like to share? 

I've read at the Library of Congress and lots of fascinating locations in my career, but nothing beat being invited to read from my Edith Wharton-inspired novel Rosedale in Love at a Wharton conference in Florence last summer.  It was a huge honor, and the venue for my reading was an amazing small Gothic church. Plus, I had a week in Florence. I felt blessed. 

6. Where do you feel historical fiction is headed as a genre? 

It's only going to get more and more popular as the interest in literary fiction continues to wane and genre fiction readers multiply.

7.  Is there an era/area that is your favorite to write about? How about to read?

I've written about the Gilded Age and am going to write about the Middle Ages, but I read anything that tells a good story in engaging prose.  Those first few pages are crucial to me: if I'm not hooked, I'll move on even if the book is getting praised by the whole world. That's probably a result of my years of reviewing. Before that, I'd slog through to the end even if I didn't like a book, but life is too short. 

8. What book was the most fun for you to write? 

Every one of my 24 books has been a joy to write, but that's because I'm not one of those writers who complain about how hard our lives are or how hard it is to find inspiration.  I even love revisions.  Picking a favorite, though, is easy: Rosedale in Love, because it rewrote Edith Wharton's The House of Mirth and I grew up in New York surrounded by The Gilded Age. My local public library was a Stanford White building. 

9. Can you tell us about your latest publication? 

My latest book is actually a guide for writers at all levels of their career: Writer's Block is Bunk. It looks at the realities of the writing life and offers advice most people don't get. 

10. Do you have a most interesting question or crazy anecdote related to your writing you would like to share? 

A character in my Nick Hoffman mystery series has a cabin in northern Michigan and even friends have asked me if they can borrow it, or even rent it!

Interview with author Teralyn Pilgrim

Teralyn Pilgrim is a historical novelist seeking representation for SACRED FIRE, a novel about a vestal virgin in ancient Rome who had to perform a miracle to escape execution. She is hard at work on a second novel, VOODOO QUEEN, about the infamous voodoo leader Marie Laveau, who ruled and terrified New Orleans throughout the nineteenth century. Teralyn blogs about the joys and challenges of writing fiction at A Writer's Journey. She will be participating on the panel "Depicting Religion in Historical Fiction" at the 2013 Historical Novel Society Conference in St. Petersburg, Florida, this June.

1. How do you find the people and topics of your books?

I don't go out looking for my topics; they find me. My ideas have come from college courses, vacation trips, word-of-mouth stories, and non-fiction books. If a writer is ever out of ideas, I recommend exploring as much of life as she can. Eventually, an aspect of life will jump out and ask to be made into a story.

2. Do you follow a specific writing and/or research process?

I'm still learning the best way to research, and of course the process is different for each book. I've only learned one hard and fast rule that everyone should follow: save EVERYTHING. I put every website I visit in Evernote, I have a folder on my Desktop for every image I see, and I own all my research books. I also include footnotes in my rough draft so I can remember where I get the information I used and easily find it again.

3. For you, what is the line between fiction and fact?

How much fact and how much fiction belongs in a novel depends on the type of book you're writing and what you want it to accomplish. If you're trying to write an accurate, true-to-life book that includes a works cited list, you darn well better get your facts right. If you want to write a romance or a mystery about people who never really lived, the story comes first. For me personally, history is more important than artistic license, but artistic license is necessary to make the history palatable.

4. What are your favorite reads? Favorite movies? Dominating influences?

My favorite modern books are POPE JOAN, MOTHER OF THE BELIEVERS, and PEONY IN LOVE. My favorite classics are JANE EYRE, LORD OF THE RINGS, and LES MISERABLES.

Rebuilt Ruins and Emptied Tombs: An Interview with Author C.W. Gornter

C.W. Gortner will be the featured speaker at the Saturday luncheon of the 2013 Historical Novel Society Conference, which will take place in St. Petersburg, Florida, on June 21-23. Gortner is the author of four historical novels, the most recent being THE QUEEN'S VOW, a novel about Isabella of Castile, published by Ballantine Books in 2012. THE TUDOR CONSPIRACY, Book 2 of his Elizabeth I Spymaster Chronicles from St. Martin's Press, hits the shelves on July 16. C.W. has been a frequent guest here at Writing the Renaissance. Today he addresses questions about his interests and his writing process.

1. What got you first interested in historical fiction?

I grew up in southern Spain, surrounded by history. Castles, battlefields, tombs in cathedrals: These were right outside my door. History was a part of my youth and it never intimidated me. I loved the sense that the past could permeate the present. I became interested in historical fiction when I read my first historical novel, MURDER MOST ROYAL by Jean Plaidy. It ignited my imagination; all of sudden the ghosts were clothed, the ruins rebuilt, the tombs emptied. I realized the past could be as exciting, as robust and real as the present, in the hands of a talented novelist. I was eleven years old and my life was never the same. To this day, I still have that battered edition of Ms Plaidy's book.

2. How do you find the people and topics of your books?

I'm usually attracted to the hidden history, the secret stories. The characters I choose may be famous, but they usually have a controversial legend that sets them apart. I'm most interested in people who did something extraordinary, whose became more than was expected, for better and for worse. I'm not that drawn to easy characters. Give me a bad girl or boy any day.

3. Do you follow a specific writing and/or research process?

I write every day except Sundays, which is when I catch up on my reading. For me, writing is like playing an instrument. I need to keep the muscles flexible and disciplined. I'm superstitious, too, that if I take too long a break, I may never want to go back. Writing can be demanding; it requires passion and perseverance, and a willingness to be alone a lot. I'm quite social, so I can be easily distracted if I don't stay focused. Writing daily helps keep me in that zone.

4. For you, what is the line between fiction and fact?

It often depends on the story. I've read plenty of popular history that would qualify as fiction. For example, does anyone actually believe Anne Boleyn had six fingers? But, as a general rule, for me facts are: X was born on this day. X did this. Fiction, on the other hand, involves unraveling motivations, thoughts, emotions. We can research cultural and social history, read journals and letters, when available, to get a sense of how people felt and how they perceived their era and lives, but to recreate their experiences so that readers can feel them, too: That is the art of fiction.

5. What book was the most fun for you to write?

The one I'm currently working on is always the most fun - and most challenging!

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You can learn more about C.W. Gortner and his books at his website. He also blogs at Historical Boys.

Interview with Donna Russo Morin

For the next few weeks, I'll be featuring interviews with some of the fabulous speakers slated to share their expertise at the Historical Novel Society Conference in Tampa, Florida, June 21-23. First up is Donna Russo Morin.

Donna Russo Morin is the author of four historical novels. "An adventurous quest in Renaissance Italy with undercurrents of the supernatural," her most recent release, THE KING'S AGENT (Kensington, 2012), earned a starred review from Publishers Weekly. Donna will be speaking on the conference panel "Sex in Historical Fiction: How to Make It Hot."

1. What got you first interested in historical fiction?

It really began with James Michener. My mother was reading him voraciously while I was in high school. I picked one up and became completely enraptured, captivated far beyond the books assigned in class. From there it went from one spectrum—Leon Uris—to the other—Rosalind Laker. When I found Diana Gabaldon’s OUTLANDER in the early ‘90s and her mingling of fictional characters with historic ones, I completely discovered my voice.

2. How do you find the people and topics of your books?

I am very lucky that ideas come to me with ease. The first book I ever wrote was a self-fulfilled wish…to be a Musketeer. The second came from a two minute news story on the glass makers of Venice. Now that I am fully ensconced in the Italian Renaissance…an era I can trace my own lineage back to…I am obsessed and bursting with stories longing to be told.

3. Do you follow a specific writing and/or research process?

I always start with solidifying my fictional plot. Then I research the historical events of the era I’m in ad nauseum. Once I feel I have done my due diligence in that regard (typically 6-8 months of work) I’ll begin to merge the two to fully flesh out the plot and outline. Then, it’s off to the races.

4. For you, what is the line between fiction and fact?

My main characters and their challenges are fiction within the rigid constructs of historical fact. The only time I’ve blurred the line, was in the case of time…bringing events closer together for a more tightly written narrative. BUT…I am a firm believer that if any such ‘blurring’ occurs, it is the duty of the author to make it clear in an Author’s Note.

5. Do you have an anecdote about a reading or fan interaction you'd like to share?

I was standing in a museum, intently studying a work of art I had just used in my last release, THE KING'S AGENT, when a young woman next to me started telling me about this book she had just read and how the author had used the painting, and, best of all, how much she loved the book. It was one of the best moments in my writing career, especially when she told me that she had only gone to the museum because of that book. It was a goose bump moment.

6. Is there an era/area that is your favorite to write about? How about to read?

I am firmly and utterly obsessed with Renaissance Italy, Florence to be exact. Not only am I a willing prisoner to the rebirth and the miraculous and wondrous changes that took place—astounding fodder for my muse and my pen—but it is a time I can trace my own lineage to. As a full, second generation Italian American, I am currently working on my Italian (dual) citizenship and hope to spend a few months of every year there (there will be a guest room!). As for reading, I am simply in love with my genre, though I do tend to stay away from periods that I feel have been overdone. 

7.What are your favorite reads? Favorite movies? Dominating influences?

Favorite Reads: All works by Alexandre Dumas, TRINITY by Leon Uris, TO DANCE WITH KINGS by Rosalind Laker, GONE WITH THE WIND by Margaret Mitchell. Stephen King and his ability to tell a complex story in a simple way and Diana Gabaldon’s perfect marriage of fact and fiction are, far and away, my most dominating influences. As for movies…not sure there’s enough time or space. I am a movie fanatic of all genres. Some of my top of list favorites are SHAKESPEARE IN LOVE; EVER AFTER; CRAZY, STUPID LOVE; LORD OF THE RINGS; anything Star Trek; LITTLE MISS SUNSHINE…the variety is evident I think.

8. Is there a writer, living or deceased, you would like to meet?

Those deceased would have to be Jane Austen and Margaret Mitchell. Among the living are Stephen King, J. K. Rowling, and Diana Gabaldon.

9. What book was the most fun for you to write?

It is most definitely THE KING'S AGENT. I combined true paranormal aspects found in Renaissance art with Dante’s DIVINE COMEDY (giving physical form to the allegory in the guise of challenges) as well as influences from my favorite video game, THE LEGEND OF ZELDA. It was a large aim of the book…to have fun. The books that came before were reflections of the extreme traumas and difficulties of my own life. When I reached THE KING'S AGENT...well, the girl just wanted to have some fun.

10. Can you tell us about your latest publication?

If I may be so bold, I would like to quote the starred review THE KING'S AGENT received from Publishers Weekly: "In return for acquiring—stealing if he must—great works of art for French King François I, the king’s royal art dealer, Battista della Palla, enjoys the king’s support, and the city of Florence enjoys his protection. When the king goes to war with Charles of Spain, he orders Battista to retrieve an ancient Greek relic that is said to “possess the strength [he needs] to reign victorious.” As Battista begins the hunt, he meets Aurelia, a beautiful, spirited noblewoman with a yen for travel and adventure, and his simple quest blooms into a mysterious journey across Italy, with Battista and Aurelia following in the footsteps of the relic’s Guardians and encountering challenges evocative of Dante’s Divine Comedy. Inevitably, the two fall in love, but a secret about Aurelia’s true identity threatens the mission. Morin (To Serve a King) skillfully blends historical fiction and fantasy in surprising ways. She draws effortlessly upon influences ranging from Dante to Raiders of the Lost Ark, and the authority of her presentation makes the world she’s created come alive. A wonderfully action-packed ride through the lush landscape of Renaissance Italy."

11. Do you have a most interesting question or crazy anecdote related to your writing you would like to share?

Well, for each book I've done some interesting physical research. For the first book, THE COURTIER'S SECRET, I learned how to fence. For THE SECRET OF THE GLASS—my second—I ‘tried’ to learn to blow glass. I learned how to shoot a bow and arrow for my third book, TO SERVE A KING, and now archery has become an entrenched hobby. And for THE KING'S AGENT, I learned how to dagger fight. It would seem my work has made me a bit dangerous.

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I'll definitely be adding Donna's books to my TBR pile. Be sure to check out Donna's website to learn more about her and her books--or better yet, come to the HNS Conference and meet her in person!

Readers, Writers, and History Buffs: Join Us at the 2013 Historical Novel Society Conference!

Let the countdown commence! 107 days until the 2013 Historical Novel Society Conference kicks off at the beautiful Renaissance Vinoy Hotel in sunny St. Peterburg, Florida.

I don't get out much. I'll admit it. I'm a writer, right? A writer who's paying two college tuitions, parochial school tuition, California sales tax, etc., etc. But I wouldn't miss this bi-annual North American conference for anything, even if I had eat to franks and beans every day for a year in order to get there. If you're a writer or reader of historical fiction, this three-day gathering (remarkably low-priced for all that it includes) is worth every penny. You'll come home with a suitcase full of books, a head full of knowledge, an abundance of eagerness, a roster of new friends and colleagues--and maybe even an agent or editor request to submit your novel!

The HNS Conference is unique in that it draws, and caters to, both readers and writers of historical fiction. Readers adore the conference because they get to mingle with some of the biggest names in historical fiction today--Diana Gabaldon, Margaret George, Susan Vreeland, Michelle Moran, C.W. Gortner, among others, have all attended previous conferences. And when I say "mingle," I mean "chat with," "stand next to," "rub elbows with," "stutter in front of," "spill drinks on," "photograph"--for the authors mix freely with the attendees the entire weekend. They are more than happy to discuss the weather, laugh at your favorite joke and look at photos of your dog, as well as answer questions and sign books. You arrive at the conference a bit star-struck; by the time you leave, you realize that authors are regular people, too, and often incredibly gracious ones at that.

Benefits to writers of historical fiction are too numerous to count, but include:

• Timely and engaging content. The conference offers a wide array of workshops and panel discussions aimed at helping authors become better writers, understand the genre, and navigate the challenging world of publishing. Three sessions run concurrently throughout the day Saturday and on Sunday morning. The difficulty lies in deciding which of these wonderful sessions to attend! Doors always remain open so attendees can slip in and out of sessions that overlap. Click for this year's session schedule.
• Agent and editor contacts. Each attendee may request a free pitch session--a private, ten-minute interview--with two of the twelve agents and editors in attendance. These sessions often lead to invitations to submit partial or full manuscripts for consideration after the conference. If an author does not yet have material ready to pitch, opportunities exist to chat with agents at group events to find out what they're interested in, as well as to get a feel for what it would be like to work with them. Click for this year's list of agents and editors.
• Increased confidence. Being around other writers, from complete novices to best-selling authors, can be a huge confidence builder. Not in the sense of comparing your skills or sales numbers to theirs, but in realizing that every author starts out from the same spot and through persistence and hard work realizes her dreams. Learning how one writer got an agent/multi-book contract/huge publicity budget on her first try proves it can happen, lighting the flame of hope; discovering that another author had five rejected novels in her drawer before she made a sale inspires the courage to continue, despite setbacks. Hearing these different stories and seeing the various paths to publication is both encouraging and reassuring. 
• Inspiration. Historical fiction authors love to discuss history and share facts they have unearthed during their research. In this seething broth of historical lore, seasoned by stimulating discussion and chance acquaintance, new ideas continually bob to the surface. Browsing the conference bookstore will reveal unfamiliar settings, events and eras that might tempt you to future exploration; a comment from a fellow participant at breakfast could spark an idea for a mystery series; hashing out an tangled subplot with a colleague over a glass of wine might lead to the breakthrough you've been waiting for. Listening to other writers describe their work habits and methods can provide you the means and enthusiasm to revitalize your own.
• Connections. Networking, in the best sense of the term, is the primary value of the conference. In a group of three hundred people who share the same passion for history and books, it is easy to make new friends and find knowledgeable new colleagues. Name tags list participants' specialties and preferred eras, facilitating the discovery of other Tudormaniacs or classical buffs! Getting to know other authors, published or not, can lead to blurbs for future novels, introductions to editors or agents, guest posts on blogs, critique partner pairings and the formation of writing groups. But don't be mercenary about it--these connections can lead to friendships that enrich your life beyond the realm of publishing. You'll have wonderful memories to share and new adventures to look forward to as you support your writing friends and become part of each other's lives.

I've attended four of the five North American Conferences and have had a wonderful experience every time. My first conference, in Albany, NY, proved to me that hey, I could do this writing thing; the second, in Schaumberg, IL, allowed me to meet with my fabulous agent, Stephanie Cabot, in person; at my third conference, in San Diego, CA, I clicked with an amazing group of fellow writers who have not only formed a critique group but have grown to become the dearest of friends. Who knows what the 2013 conference might bring?

This year I will be leading a panel discussion entitled "Virtual Salon: The Historical Fiction Blog." Bloggers extraordinaire Heather Webb, Amy Bruno, Deborah Swift, and Heather Rieseck will join me to share tips on creating and maintaining a successful blog and to discuss the future of historical fiction blogging. We hope you'll join us--if not at the discussion, then at the bar, the banquet, the bookshop, or the corridor! Introduce yourself and join the fun--you'll be so glad you did, and we will, too.

Register for the 2013 conference today!

If you're still not sold, you can read my recap of the 2009 conference here.

For other points of view, check the blogs of my writing group partners: Susan Spann, Marci Jefferson, Amanda Orr,  and Heather Webb.

Sun, Surf and Words

Registration for the 2011 Historical Novel Society Conference, to be held June 17-19 in San Diego, California, is now open. For readers and writers of historical fiction alike, this conference is a marvelous event. Imagine two days spent with 300 people who love historical fiction as much as you do! The Historical Novel Society has sponsored this event every other year beginning in 2005, and the conference has only gotten better each time. This year Cecilia Holland, Harry Turtledove, and Susan Vreeland are guests of honor. Many other published authors (Diana Gabaldon, Margaret George, Michelle Moran, C.W. Gortner, Mary Sharratt, to name only a few) will give presentations on the craft of writing historical fiction or the art of selling it. Attendees may sign up for a pitch session with an editor or agent who specializes in historical fiction. The event includes meals, banquet, book signings, presentations and endless opportunities to network and have fun. The best part about the conference: the published authors are completely accessible and very generous with their time and expertise. If you have a favorite author, it's a great way to meet him or her in person. Readers of historical fiction enjoy the conference as much as writers do.

The conference can accomodate only 300 attendees. Registration has already reached over 70, so check out the website and schedule soon if you are interested. I've attended the last two gatherings and promise you will not be disappointed.

Hope to see you there!

HNS Conference Recap

The Historical Novel Society Conference is over, and what a wonderful event it was! It's hard to get back to reality after spending three days immersed in the world of authors, books, and best of all, new friends.

The conference was held at the Hyatt Regency Woodfield, a beautiful hotel in the Chicago suburbs eight miles from O'Hare airport (although with the traffic, it might have been eighty miles!). The ultramodern setting--huge open spaces, kidney-shaped tables, low couches, free standing columns, pyramidal topiaries, a soothing brown and aqua color scheme--made a curious contrast to the conference topic, especially since the setting for the previous gathering had been a hotel decorated with antique furniture and colonial shop signs. The Woodfield staff were efficient, the food delicious, and the space perfect for our various sessions. If there were any snafus with the facilities, they weren't at all noticeable from the participants' point of view.

Now on to the exciting stuff--the incredible authors and publishing professionals who were in attendance. Margaret George, author of THE AUTOBIOGRAPHY OF HENRY VIII and HELEN OF TROY, gave the opening address on Friday night. Declaring that historical fiction authors are time travelers who take their readers with them, Margaret described the various methods she uses to create the atmosphere of the era she is writing about. To get in the proper mindset when she writes, she surrounds herself with the music, objects, smells and tastes of the past, trying her best to block out the modern world. Her methods must work, given her books' success! Trish Todd, the editor-in-chief of Simon & Schuster's imprint Touchstone/Fireside who has brought us the novels of Philippa Gregory, Kathleen McGowan, and Anne Easter Smith, described during a lunchtime address the economic difficulties facing publishers today and the thrill she continues to find in her work despite them. She foresees many changes in the way publishers do business, but feels this is not a cause for alarm--good books will continue to find their way into readers' hands and hearts. The prolific Sharon Kay Penman spoke during the final banquet and regaled her listeners with little-known facts about women's lives during the Middle Ages, particularly in Wales. Women there had many more rights than they did in England--for example, a woman could initiate a divorce if her husband had bad breath or if he added a live-in concubine to the household! It was an amazing experience to hear these talented women share their wisdom and artistic lives with us.

The panel sessions I attended were equally enlightening. On Saturday morning, I listened to Michelle Moran, Christopher Gortner, and Karen Essex talk about "Breaking In and Staying in the Historical Fiction Game"; they shared their experiences as first-time authors and emphasized the importance of authors actively working alongside their publishers to market their books. The panelists suggested a plethora of practical marketing ideas and strategies. In the session "Debut Novels," Catherine Delors, Kamran Pasha, Barbara Corrado Pope and Ann Weisgarber spoke about the genesis of their first books and recounted their paths to publication, which varied widely. Mr. Pasha, an enthusiastic speaker who has written a novel about Mohammed's wife Aisha, encouraged us writers not to give up; we all have something important to share, a message the world needs to hear that only we can impart. His inspiring words provided me much food for thought, as did the other panelists' stories of dedication and determination.

On Friday afternoon, I attended the Editors' Panel, in which Shana Drehs (Sourcebooks), Barbara Peters (Poisoned Pen Press), and Trish Todd (Touchstone/Simon & Schuster) spoke about selling historical fiction. It was quite interesting to hear how the three presses, medium, small, and large, each go about acquiring new work and how they were adapting to the difficulties of the present market. In "Talking the Talk: Historical Fiction Dialogue," Christine Blevins, Kate Forsyth, Margaret George, Nancy Hull and Mary Sharratt addressed the use of dialogue to establish character, narrative, and setting in their works. They spent a good deal of time on the appropriate use of dialect, as well as the importance of choosing the proper level of diction. They even shared the curse words characters in their novels use in anger! On Sunday morning, I attended only one panel: "Query Letters that Worked." Three authors, Catherine Delors, Barbara Corrado Pope, and moderator Joyce Moore shared their query letters;  two agents, Stephanie Cabot and Pam Strickler, discussed what they liked about the letters and why they had garnered requests. The agents shared additional letters from their authors and opened the floor to questions from the audience. Listeners came away with excellent advice on what agents look for in a query letter--a brief, to-the-point description of the story--and how to address issues such as multiple novels and target audiences.

Saturday evening was devoted to fun. First came the group book signing, in which over seventy authors chatted with attendees and signed copies of their books purchased from the well-stocked conference book shop. The cash-bar reception then preceded the sumptuous banquet, which was itself followed by a historical costume fashion show. Twenty or so attendees paraded costumes ranging from medieval gowns and wimples to eighteenth-century pirate hats and spyglasses to twentieth-century suffragette sashes and placards. Finally, the hardiest attendees ignored their fatigue to listen to five authors--Eileen Charbonneau, Margaret Frazer, Jade Lee, Anne Easter Smith, and Diana Gabaldon--share titillating sex scenes from their novels. The bartenders and wait-staff got more than they bargained for working this gig!

The best part of the conference, for me, was meeting many of the writers whom I've gotten to know over the internet during the last two years. I reconnected with Diana Gabaldon, Martha Terilli, Sarah Johnson, Tinney Heath and Marilyn Alm, whom I met at the last conference; Catherine Delors,  Sheramy Bundrick, Lucy Pick, C.W. Gortner, Michelle Moran, George Berger, Christine Blevins, Laurel Corona, Susanne Dunlap, Karen Essex, Amanda Orr, Donald Platt, Vanitha Sankaran I got to meet for the very first time. I was also very lucky to be able to spend time with my lovely agent, Stephanie Cabot, who up until now has only been a voice on the phone. 

Heartfelt thanks go to the Historical Novel Society and the conference organizers for putting together this amazing event. For readers who are considering attending the next conference, I have two words--DO IT! You'll make new friends and valuable connections and meet authors whose books you've read and raved about. Exposed to the wisdom and expertise of published authors and industry professionals, you'll come away exhilarated, inspired and determined to finish that book. The only disappointing thing is that the conference lasts only two and a half days, then you have to wait two years until the next one.

It's Conference Time!

Exciting news: registration is now open for the Historical Novel Society North American Conference.

This year the conference will be held June 12-14 at the Hyatt Regency Woodfield in Schaumburg, IL. The guests of honor, both of whom will speak, are bestselling historical fiction novelists Margaret George and Edward Rutherford. Many other authors--among them Catherine Delors, Michelle Moran, C.W. Gordon, Diana Gabaldon, Anne Easter Smith and Lauren Willig--will be in attendance. The registration fee includes an opportunity for attendees to pitch to one of the agents or editors who come to the conference looking for new talent.

This conference is wonderful because it's open to all lovers of historical fiction: readers and writers, editors and agents. The panels are timely and informative, the entertainment high spirited, and the networking possibilities endless! Best of all, everyone there loves to talk about what you love best--historical fiction. The conference is limited to 300 registrants, so if you're interested, visit the registration site soon.

If you have any questions about the conference, I'll be happy to try to answer them. I attended the last conference in 2007 and have been counting the days until the next one.

See you in Schaumburg in June!