Booksale Bonanza

I'm such a book geek. Here I am all excited about the great haul I made yesterday at our local library used book sale. For $16, the price of one new trade paperback, I bought the following books, all hardcovers but two:

The Secret Book of Grazia dei Rossi by Jacqueline Park 

[I've read this before and liked it and since it's set in the 16th century, I wanted to own a copy.]

Depths of Glory: A Biographical Novel of Camille Pissarro by Irving Stone

Those Who Love: A Biographical Novel of Abigail and John Adams by Irving Stone

[I read The Agony and the Ecstasy as a teenager and loved it, so I thought I'd try more Stone. Plus, I've always wanted to know more about Pissaro.]

Somewhere in France by John Rolfe Gardiner 

The Rossetti Letter by Christi Phillips

Paris to the Moon by Adam Gopnik 

[Always wanted to read this memoir.]

Thirteen Moons by Charles Frazier

[Cold Mountain is one of my favorites, so I'm looking forward to this one, although I hear it's quite different.]

Vivaldi's Virgins by Barbara Quick

Shadow of the Moon by M.M. Kaye

[Read this in high school, but I think it's worth a re-read.]

A Song of Sixpence by A.J. Cronin

[Have never read any Cronin before.]

The Fool's Tale by Nicole Galland

The Piano Tuner by Daniel Mason

[This is one of my favorite books, but I didn't have my own copy.]

Prince of Foxes by Samuel Shellabarger

[Members of Historical Fiction Online always mention Shellabarger, so I thought I'd try one! This one has a lurid 1970's cover.]

Plainsong by Kent Haruf

Paint It Black by Janet Fitch

[I loved White Oleander. Janet Fitch is an instructor at the Squaw Valley Writer Community of Writers, which I've attended twice, and I've always found her talks to be inspiring and full of practical advice.]

So, while I feel slightly guilty to have bought all these books used and thus cheated the authors of royalties, I'm excited about my finds. I realized while I was skimming the spines on the display tables why it is I write--I want someone to feel the same thrill on finding my book that I feel when I find a book I've been wanting to read! It's not the fame, not the money (good thing!), but the thought that I could bring a few hours of enjoyment to someone by doing something I love to do. I want someone to rush home someday with my book in her hands: "Look, I found the latest Julianne Douglas!" (And, shhhh, don't tell my agent, but I won't even mind not getting the royalties for it. *smile*)

Now, someone please tell me when I'm going to find the time to READ all these books, never mind where I'm going to put them!

Upcoming Author Interviews

I have two exciting events to announce:

Next Tuesday, April 28, is the release date for my writing friend Cindy Pon's debut YA fantasy novel, SILVER PHOENIX: BEYOND THE KINGDOM OF XIA (Greenwillow Books/HarperCollins). To celebrate the novel's release, I will be posting an interview with the author. Cindy, who is an artist as well as a writer, has agreed to send a beautiful, hand-designed bookmark to the first five people who comment on the interview. Be sure to check back on the 28th for the fun.

On Monday, May 11, I will be participating in Sandra Gulland's blog tour for the paperback release of her novel MISTRESS OF THE SUN (Touchstone). I will post a Q & A with Sandra and a review of the book. In addition, Sandra's publisher has provided a copy of the novel for me to give away to a lucky reader. More details will follow as the date draws near. 

On a related note, Robin Maxwell is working on responses to the interview questions I sent her, but she must at present focus on the final revisions of her forthcoming novel O, JULIET. I will post the interview and my review of SIGNORA DA VINCI together as soon as Robin is able to get back to me. I wish her all the best as she polishes what is sure to be another marvelous novel!

Back to work now...

A Virtual Tour

The internet is a wonderful thing. Poking around today looking for information about the palace of Fontainebleau, I found this neat video tour that offers a panoramic view from four vantage points in the palace (two exterior, two interior). The view of the lagoon is stunning. I'm not sure how much of the décor of the Salon François I is original (the palace has been renovated and redecorated innumerable times through the centuries), but the stucco decorations above the fireplace are surely the work of Rosso or Primaticcio. Unfortunately, and inexplicably, the tour does not include a visit to the Galerie François I, which has been faithfully restored to its original state and is the showpiece of the palace.

An Egg-ceptional Easter

Although eggs do serve as a powerful symbol of new life and resurrection, the custom of decorating eggs at Easter has a more mundane, though quite interesting, origin. As eggs were a forbidden food during the forty days of Lenten fasting, eggs laid during these weeks either had to be hatched or kept for eating after Easter. To preserve the eggs, people dipped them in mutton fat or wax and decorated to make them more attractive. Poor people dyed their eggs red; noblemen gilded theirs or adorned them with their coats of arms. Plates of decorated eggs were brought to the parish priest on Easter morning. The priest sprinkled them with holy water and blessed them with a specific egg-blessing, thus releasing the worshippers from their Lenten privations. The decorated eggs were then given as gifts. Baskets of painted eggs were presented to the King of France after high Mass on Easter Sunday; he would distribute the eggs to his courtiers. Henry VIII once received a Paschal egg in a silver filigree box from the Pope. The largest egg laid in the vicinity of the palace during Holy Week was wrapped with a single red ribbon and presented to the king. The groups of youths would go from door to door in towns and villages singing and collecting eggs from their generous neighbors. They would use some of the eggs for rolling games and tosses; out of the rest they would make huge omelets which they would share to celebrate the end of the fast. 

Hmm, an omelet is sounding pretty good right now. . . race you to the kitchen!

Best wishes for a happy and blessed Easter.

(Sources: A History of Food, M. Toussaint-Samat and A. Bell; The Antiquarian Magazine and Bibliographer, E. Walford; The Gift in Sixteenth Century France, Natalie Zemon Davis)

A Mother's Anguish

The grand connétable Anne de Montmorency commissioned this Pietà from Rosso Fiorentino for the chapel at the château d'Ecouen. Painted sometime in 1538 or 1539, the Pietà is the only surviving example of an easel painting that can be dated with certainty to Rosso's stay in France. The artist acknowledged de Montmorency's patronage by decorating the orange cushion beneath Jesus's body with the connétable's coat of arms. Originally, the Pietà adorned the chapel altar, though it was later moved to hang above the door. During the Revolution, the painting was confiscated from Ecouen and transported to the Louvre, where it can be viewed today. The intense personal anguish exhibited by Mary, whose outstretched arms recall her son's posture on the Cross, may provide a glimpse into artist's troubled emotional state; Rosso died by his own hand a year or so after completing this work. 

Descent from the Cross

Rosso Fiorentino painted this Descent from the Cross in 1521, a good ten years before he came to France at the invitation of King François. It was commissioned by the Company of the Cross of the Day, a confraternity of flagellants in the Italian city of Volterra. The starkness of the painting's composition, the unnaturalness of its lighting and colors, and the rawness of its emotion shocked contemporary viewers. It is rumored that Rosso, in the tradition of Albrecht Dürer, painted himself into the composition in the red-headed figure of the apostle John, who grieves his beloved Christ's death in the lower right corner.

Henry VIII's Prayer Roll

Here's a link to an interesting article about the discovery of a prayer roll, a long piece of parchment inscribed with Latin prayers and devotions, that a young Henry presented to one of his attendants and which bears an inscription in Henry's own handwriting. The scholar studying the prayer roll claims it is evidence that in his youth Henry was quite pious and traditional in his relationship with the Catholic church; it was only after the difficulties he faced obtaining his divorce from Catherine of Aragon that Henry turned hostile towards Rome. 

A Friday Snippet

I've been busy writing, so instead of a history post I'm going to share a snippet of my WIP. This is the opening of the fourth chapter; the characters are King François and his official mistress, the powerful Anne d'Heilly, Madame d'Etampes. Charles V is the Emperor; the Dauphin is the king's older son Henri; Orléans is François's third son, another Charles. Montmorency is the Grand Constable of France, one the king's chief advisors. 

**********

Copyright 2009 by Julianne Douglas. All rights reserved.

François paced the length of her chamber like a caged lynx, their hurried coupling already forgotten. “You will not dissuade me, Annette. Despite our victories in the field, Milan yet proves elusive. Perhaps, as the connétable suggests, peace and friendship will garner what war has failed to win.”

He stopped before her and extended a hand. Anne worked the leather glove, stiff with embroidery, over his fingers and palm. His skin hardly quivered when she kissed the underside of his wrist.

“I have taken the first step. Today I granted Montmorency permission to approach the Spanish ambassador on the subject of a match between the Emperor and young Marguerite.” She felt his eyes on her face, watching for her response to this unforseen bit of news.

She managed to preserve her smile, though inwardly she cursed his impatience. “So soon?” She released his hand and reached for the other. “Queen Isabel died hardly two weeks ago, and by all accounts the Emperor loved her dearly. Might not this proposal signal an unfortunate disregard for his sentiments? You, of all people, should be mindful of that.”

François snatched his hand away, annoyed rather than dissuaded by this mention of his first wife's passing. He flexed the glove into place. “You find fault with the proposal? Charles is a king, and kings are able to separate matters of state from personal sentiment.”

"Are they?" she wanted to ask, but instead bent to retrieve the fur-bordered cape puddled on the floor. “It is not your proposal I question so much as the source from which it comes. No one but Montmorency himself would envisage such a scheme.”

François threw back his shoulders. “The connétable judges Charles’s overtures sincere and urges me to respond in kind. What better way to cement the peace than through a joining of our houses?”

Anne shook the cape out with snap. “Charles has already promised his own daughter to Orléans, with Milan as dowry.” The king stooped so she could swing the garment about his shoulders. “Marrying Marguerite would provide him the perfect pretext for releasing the infanta from this pledge. Milan would remain in imperial hands forever.”

François’s eyes narrowed as he considered this fearsome prospect. Encouraged, she cradled his face in her hands and drew his head down until their foreheads met. “Surely you understand what prompts Montmorency’s suggestion.”

“Suggestion?” François repeated, his hands seeking her waist.

She twisted out of his grasp, determined not to distract him. “Montmorency wants nothing more than to cheat Orléans out of the prestige and power of an imperial marriage. He won’t hesitate to quash Orléans’s prospects in order to further the Dauphin’s. And his own.”

François’s face clouded as he contemplated this slight to his favorite son. “Young Charles, ruling Milan with the blessing of the Emperor, does pose a serious threat to Henri’s eastern flank,” he admitted.

“Exactly. Montmorency is no fool. Knowing how your nobles favor Orléans over the Dauphin, he is loath to place young Charles in a position where he could easily be led astray.”

François laughed, a clear and hearty peal. “God’s blood, Annette, without a doubt your fancy runs wilder than Montmorency’s. The connétable but seeks to take advantage of the Emperor’s empty bed, not forestall a rebellion! Easier to snare the Hapsburg fox with a morsel like Marguerite than negotiate endlessly over the price of the infanta.” He reached out and pulled Anne close, nuzzling her neck. “You may be sure I’ll keep you close at hand when the Emperor draws nigh.”

She pushed away from his chest, certain she had misheard. “The Emperor comes to France?”

*********

There's a lot of history and politics in this scene--I'd love to hear your thoughts on how I handled it. Too much information, too clumsily presented? This is only a draft, so I'd really appreciate feedback. 

Literary Maven Meme

I know I am way overdue for a history post, but this meme will have to hold you for a few more days. My personal life has been very busy and I've been devoting the few spare moments I've had to working on my novel. Poor François, last we saw of him, had just been captured and taken to Spain. He's not going anywhere anytime soon, so on to the book meme!

1. What author do you own the most books by?
Since I did a B.A. in English literature and a Ph.D. in French, I've many, many books that I had to read for classes. Numberwise, I probably have more books by the 17th century playwright Molière than anyone else, since his plays are published in separate editions. I also have most of the twentieth century novelist Alain Robbe-Grillet's works. As far as English literature goes, I own at least six of George Eliot's novels. As for lighter reading, I have all but one of Diana Gabaldon's Outlander novels.

2. What book do you own the most copies of?
I have two copies of Michelle Moran's wonderful novel The Heretic Queen--I bought one and then was lucky enough to win an autographed copy!

3. Did it bother you that both those questions ended with a preposition?
A bit...remember, I was an English major!

4. What fictional character are you secretly in love with?
Although I normally don't go for blonds, I'll have to admit Francis Crawford of Dorothy Dunnett's The Lymond Chronicles has a lot going for him. Edmond Dantès of The Count of Monte Christo isn't bad, either, although Jim Cavaziel's movie portrayal of him factors heavily into that! And then, of course, there's Gabriel Orland, the male lead in my own novel The Measure of Silence.

5. What book have you read the most times in your life (excluding children's picture books)?
Probably Gone with the Wind. I first read that novel in eighth grade and have read it several times since. It was the book that first interested me in historical fiction. I don't reread books often (there are too many books I haven't read even once yet!), but others I have read multiple times are the Kristin Lavransdattir trilogy by Sigrid Undset and the first three books of the Lymond Chronicles.

6. What was your favorite book when you were ten years old?
Hmmm, hard to remember back that far, but I'd have to say The Black Stallion by Walter Farley. I was in the typical young girl's "horse stage" then and read all of the Black Stallion series.

7. What is the worst book you've read in the past year?
There have been two novels set in sixteenth century France that I tried to read and couldn't make it past the first couple of chapters. I'd rather not name names, though.

8. What is the best book you've read in the last year?
I'm in the last few pages of Andrew Davidson's The Gargoyle and LOVE it. I was curious because of all the hype surrounding the book and didn't expect to like it, but I was very pleasantly surprised. I also enjoyed Someone Knows My Name by Lawrence Hill, Portrait of an Unknown Woman by Vanora Bennett, and After This by Alice McDermott.

9. If you could force everyone to read one book, what would it be?
The Weight of Glory by C.S. Lewis.

10. Who deserves to win the next Nobel Prize for literature?
Alice McDermott or Irène Némirovsky.

11. What book would you most like to see made into a movie?
Suite Française by Irène Némirovsky

12. What book would you least like to see made into a movie?
Since I don't see many movies, it really doesn't matter to me.

13. Describe your weirdest dream involving a writer, book, or literary character.
I have very vivid dreams, but I can't remember ever having one about any of these topics!

14. What is the most lowbrow book you read as an adult?
I have so little free time that I have to make every reading minute count, but I will admit to reading my fair share of bodice rippers as a teen.

15. What is the most difficult book you've ever read?
I'd have to say many of Robbe-Grillet's books because of my distaste for the subject matter. I've always found Michel de Montaigne's Essais slow going because of the style.

16. What is the most obscure Shakespeare play you've ever seen?
Henry V. Confession: much to my shame, I've never read or even seen MacBeth!

17. Do you prefer the French or the Russians?
Need you ask? [smile] Although I do adore Russian novels.

18. Roth or Updike?
I've never read either one.

19. David Sedaris or Dave Eggers?
Again, I've never read either. I do own a copy of An Astonishing Work of Staggering Genius, but I haven't read it yet.

20. Shakespeare, Milton, or Chaucer?
Whew, more my time period. Chaucer, I suppose; Shakespeare loses out because I really don't like reading drama. I do have a certain fondness for Milton ever since I wrote my high school senior English term paper on "The Vilification of Eve in Paradise Lost." Always loved that title.

21. Austin or Eliot?
Eliot, by a landslide. Eliot is one of my all-time favorite authors; I've read all of her novels except Felix Holt. I totally can't get in to Austin and have never understood what the Austin fuss is all about.

22. What is the biggest or most embarrassing gap in your reading?
There are large gaps in my familiarity with modern literature (post WW II). I have serious problems with the hopeless outlook and moral relativity of many modern works and have a hard time reading them. I also know next to nothing about the literature of the Spanish speaking world.

23. What is your favorite novel?
The Kristin Lavransdattir trilogy by Sigrid Undset. You have to read the entire trilogy to understand the greatness of this book. Don't stop after the first volume, which sets up the rest of the story.

24. Favorite play?
The Jeweler's Shop by Karol Wojtyla

25. Favorite poem?
The Four Quartets by T.S. Eliot

26. Favorite Essay?
The Weight of Glory by C.S. Lewis

27. Favorite short story?
"The Gift of the Magi" by O. Henry

28. Favorite work of nonfiction?
Renaissance Warrior and Patron: The Reign of Francis I by R. J. Knecht.

29. Favorite writers?
Sigrid Undset; Alice McDermott; Dorothy Dunnett; J.R. Tolkien

30. Who is the most overrated writer alive today?
"If you can't say something nice..."

31. What is your desert island book?
The Return of the King by J.R. Tolkien

32. What are you reading now?
Almost finished with The Gargoyle; next up is The Enchantress of Florence by Salman Rushdie and Cathedral of the Sea by Ildefonso Falcones.

I'm not going to tag anyone, but if you answer the meme on your own blog, please post a link!

Thoughts on Historical Accuracy

I finished reading SIGNORA DA VINCI and am busy writing a review. In the meantime, I'd like to direct your attention to a thought-provoking post on historical accuracy at Susan Higginbotham's blog Medieval Woman.

Great Advice for Writers

For all the writers who read this site, I want to direct your attention to a GREAT post on literary agent Nathan Bransford's blog, Ten Commandments for a Happy Writer. The advice is so sane, yet so encouraging. The list is well worth a read and deserves posting on every writer's bulletin board.

I think Commandments #4 and #9 are especially important to keep in mind as we struggle to make sense of our vocation, and I'm working hard on #3 myself.

Which commandment speaks the most to you at present?

Paperback Release of Delors's MISTRESS OF THE REVOLUTION

Exciting news! Today the paperback edition of Catherine Delors's MISTRESS OF THE REVOLUTION goes on sale. When the hardback was released last March, the Associated Press declared MISTRESS OF THE REVOLUTION "[d]efinitely a contender for one of the best reads of the year." I couldn't agree more.

If you haven't already read Catherine's wonderful first novel or would like to give a copy as a gift, you can get a copy at your local bookstore or order it online. You can read my interview with Catherine here or check out the extensive list of reviews Catherine has posted on her always interesting blog, Versailles and More. 

Congratulations, Catherine, on this next milestone, and best wishes for a successful release! 

Time to Change the Marquee

The market research poll has been closed for a few days now and I've had some time to digest the results and the many comments left here and over at Historical Fiction Online. First, let me say thank you to all my regular readers and to those who traveled here from other sites in order to vote. One hundred readers participated! It's really useful to have such a broad sample to base a discussion on. Special thanks to Lucy Pick and Sarah Johnson and to anyone else who directed their readers to the survey, as well as to all those who responded to my announcement on the HFOnline and Absolute Write Historical Fiction forums.

Here are the final numbers:

52 readers (52%) said they buy hf by a new author based on their interest in the era or setting;

34 readers (34%) said they base their purchase on the promise of an intriguing plot, whether or not the book features "marquee names";

11 readers (11%) buy solely on their recognition of/interest in an historical main character;

3 readers (3%) buy based on the book's peripherals: cover art, title, author blurbs.

The evidence is overwhelming: it matters to only 11% of historical fiction readers that the main character(s) be names/personalities they recognize from history. Yet more and more, authors on submission hear that editors are only interested in acquiring manuscripts that feature "marquee names." Even established authors are "encouraged" to follow the trend. Why?

Before examining this question, I'd like to highlight various comments voters made about their choices. It is important to recognize that the divisions between my four choices were necessarily more absolute than they are in real life. Many commenters pointed that a combination of factors influences their decisions. When interpreting the data, therefore, it is important to keep in mind that it is the entire "package"--setting, plot, characters and peripherals--that influences a reader to buy a new book. Nevertheless, it is interesting to see which of the four factors readers care most about in an absolute sense and why.

Peripherals

Covers, as we've discussed elsewhere on this blog, matter greatly to readers, especially in the initial impulse to examine a book. In the case of historical fiction, covers must not only designate the book as "historical fiction" but present clues about the book's setting and era. Potential readers search out covers that correspond most closely to eras or settings that interest them. I know I myself look for artwork or lettering that signals "Renaissance Europe" when I browse in a bookstore. Conversely, covers provide an easy way to weed out time periods or locations in which a reader has no interest. One reader remarked that, in complete opposition to current cover trends, she specifically avoids covers that feature a woman in a beautiful gown dated between 1500-1900. 

Several readers noted the importance recommendations by established authors play in their decision to purchase a book by a debut author. To these readers, blurbs from well-known authors assure a certain standard of writing and guarantee that the purchase of a debut book won't be regretted. Others emphasized that reviews or recommendations from trusted readers, choices not specifically mentioned in the survey, play a very important role in their assessment of a new novel.

Characters

One reader remarked that she is for the most part interested "in people who actually lived and breathed"; another said that although the characters don't have to be well-known historical figures, she does prefer her fiction to be about historical people. Someone remarked that if the book is about a real person, she wants to read about an unknown aspect of that person's life, an original take on the standard version of the character. Other readers remarked that the more they know about a historical character, the less likely they are to read the book, since any discrepancies or wild interpretations will annoy them too much. Another reader says she avoids any novel that reads like a fictionalized biography. Several readers said they do like historical personages to function as secondary characters in their novels. These token appearances of real people root the story in the time period and give a sheen of authenticity to the fictional characters. Most of the respondents, however, said it matters very little to them whether the characters are real or fictional. A couple of readers at HFOnline noted that they are tired of "novels about Henry VIII's wives, Lady Jane Grey, Mary, Queen of Scots and any other well-known Tudor era person!"

Plot

More than a third of the survey respondents say that it is the promise of an intriguing story that carries the day for them. The status of the characters and even the setting matter little if the story looks interesting. One reader said, "If I'm interested in the story, I'll read the book, no matter what." Another claimed, "[L]ike everyone else, I'm a sucker for a great plot." Maybe in a future post we can discuss how readers assess a plot with nothing more than the summary on the back cover of the book--what, exactly, do they look for? In any case, several commenters noted that although other factors contribute to their decision, they won't buy a book about an era or a character they're interested in if the story looks dull or overly familiar. It is also worth noting that many respondents claimed that it was hard to choose between plot and setting; although they ultimately voted to setting/era, plot was a very close second. The two choices are inextricably tied in many readers' minds, making the rejection of marquee names doubly strong.

Setting/Era

More than half the respondents replied that the setting/era is the most important factor in their decision to buy new historical fiction. Readers seem to have a favorite era/setting about which they'll read just about anything, or they have gaps in their knowledge of specific times or places and search for fiction to repair that lack. However, once a setting feels overused (based on comments, Tudor England is fast approaching this state), surfeited readers turn away. Unfortunately, despite the fact that so many readers chose setting/era, few left comments explaining why this factor was such a draw for them. I hope some voters will elaborate on their choice in the comments to this post below.

One reader made an interesting comment regarding setting/era: although she doesn't care about whether the characters themselves are marquee names, she does prefer fiction that depicts recognizable historical events (for example, the Great Fire of London or the storming of the Bastille). Building a story around a notable event can provide a hook, similar to that of the marquee name, compelling enough to draw potential readers in.

Conclusions

Both published authors and authors with historical fiction manuscripts on submission encounter a strong preference for marquee names among editors. One published author expressed his frustration: "The marquee factor is unfortunately hampering both published and unpublished hf writers; and it goes beyond that, into gender. It seems that unless it's about Henry VIII; you tie in a strong female POV; or you're Bernard Cornwall, male protoganists are not strong selling points in hf right now." The problem apparently doesn't stop at "fictional versus historical characters" but which subset of historical figures may rightfully claim the title of "marquee name." Yet, according to readers, centering historical fiction on a marquee name does little to entice them to read a book, and can, in fact, actively turn them away. Why, then, do editors feel that the presence of such characters is necessary for the success of an historical novel in today's market? 

I believe their conviction is little more than a reflection of society's current obsession with celebrity. Actors, sports figures, reality show contestants catapult to stardom because the public's desire to know every detail of their lives--a desire fed by the immediacy of today's media--keeps them in a constant spotlight. They become famous for being famous; whether or not merit they merit the attention, the public becomes fixated on their words, actions and appearance and read/watch/listen to/buy the products that record them. This naturally spills over into the world of book publishing. Tomes penned by celebrities crowd bookstore shelves after garnering huge advances--editors know these books will sell on the sole basis of the author's name, whether or not they are well-written. Perhaps the same promise of guaranteed sales lures editors of historical fiction. Readers of magazines and newspapers want nothing more than to follow the sordid shenanigans of celebrities--don't readers of historical fiction want the same? Unfortunately, this outlook reduces historical fiction to little more than dated scandal sheets.

Readers of historical fiction want more--much more. As one respondent said, "I'm interested in reading stories about the human condition with splashes of drama and trauma, not just about someone's past 'tabloid' life in particular." One of the aspects of historical fiction that draws readers to the genre is the depiction of the texture and complexities of past times and places that are so different from our own. Focusing on the scandals of a particular person often limits the focus and excludes much of this richness. Sometimes the best strategy for an author of historical fiction is to create fictional characters based on historical models but broadened to embody specific aspects of the cultural milieu. The author is not bound to the particular details of a single life but can draw on different sources to provide rich and varied possibilities to the reader. Theme rather than trivia takes center stage; the work illustrates the human condition, rather than one human's condition, at a specific moment in history. Time and place become characters in their own right, forces that shape destinies and determine the futures of nations and peoples. The genre's broad scope and attention to underlying philosophies is what appeals to many readers of historical fiction and what they look for in the novels they read. But they certainly won't find it if historical fiction becomes nothing more than celebrity biography packaged in an antiquated veneer. The question, I suppose, is how to let editors know what we, as readers, want. 

To Buy or Not to Buy

Market research time!

I've added a poll to the top of the sidebar. I'm curious to know what motivates you to buy historical fiction from a previously unpublished author. More particularly, I'm interested in how much the presence or absence of recognizable historical figures, what some editors call "marquee names" (ie. Marie Antoinette, Napoleon, Martha Washington), has on your decision to buy a novel. 

Would you buy a novel based on your interest in some aspect of the setting--the country, the era, an event--whether or not the characters are historical or fictional? Will you only buy a novel if it features a marquee name you are familiar with and want to learn more about (by extension, books featuring completely fictional characters don't interest you)? Will you buy a novel regardless of the fictional state of the characters if the plot summary sounds intriguing? Or do other factors--title, cover art, author blurbs--carry the heaviest weight in your decision to purchase a new author's book?

I'm sure you'll object that each of these factors play a role, but for the sake of argument, you are only allowed to choose one. Imagine you are holding the novel of a new historical fiction author in your hands at the bookstore--which factor will matter most in your decision to buy?

I'll gather results for ten days and then summarize... Thanks for your input!

The Impossible Dream

François I had a dream, a single goal that motivated the foreign policy of his entire reign: the recovery of the duchy of Milan, a region of Italy he had inherited from his great-grandmother, Valentina Visconti, and which had been lost by his predecessor, Louis XII. In 1515, very first year of his reign, François launched an expedition into Italy and succeeded in securing Milan after a stunning victory at Marignano. It was an auspicious beginning which brought him much glory and established his reputation as roi-chevalier, or knightly king.

However, to retain control in Milan, the French needed the support and cooperation of the Pope, Leo X. François initially received Leo's support, but in 1520, the Hapsburg prince Charles V was elected Holy Roman Emperor and Leo signed a treaty of alliance with him instead. In August 1521 the Emperor (who controlled Spain and Flanders and was promised Naples by the Pope) attacked the north-east border of France. The first of an ongoing series of wars between François and Charles began.

After a significant loss to imperial forces at La Bicocca in April 1522, the French lost much of the area they had seized; only the castle of Milan and Cremona remained in French hands. Henry VIII soon entered the war on the imperial side. The rebellion of the duke Charles de Bourbon, Constable of France (a story worthy of its own post), complicated things immensely for François, for Bourbon entered into league with the Emperor and the English king. François's enemies plotted to attack on three fronts. When Bourbon was routed from Marseilles in 1524, François saw the opportunity to invade Italy, a plan he had deferred for years. He crossed the Alps at the head of his troops, determined to recreate his earlier success at Marignano.

Milan had been abandoned by the imperialist troops, so the French army followed them to the city of Pavia, a heavily fortified town whose garrison was commanded by one of the best generals of the day. For four months the French lay siege to the town but refused to be drawn into the open. Finally, during the night of 23 February 1525, the imperial forces staged a surprise attack on the French, who were camped in the walled park of Mirabello. François, forewarned, charged at the head of his cavalry but got in the way of his own guns. This blunder destroyed any chance of victory and the French troops, exposed to imperial arquebusiers and left shorthanded by the failure of their Swiss mercenaries to arrive, were quickly decimated. The French noblemen fought bravely, many in hand-to-hand combat on horseback, but were unable to hold back the imperial tide.

François himself was surrounded by imperial soldiers, each of whom wanted to claim the honor of capturing him. A steward of Bourbon, La Mothe, finally took him prisoner, but François refused to surrender until Charles de Lannoy, the Viceroy of Naples (who shared command of the imperial army with the duc de Bourbon), arrived. To him François gave up his sword, along with his dream of another glorious Italian victory. Adding to the blow was the loss of many of the king's closest childhood friends and comrades in the battle. Topping everything, François, along with Anne de Montmorency and a dozen or so other high-ranking noblemen, became prisoners of his arch-enemy, the Holy Roman Emperor Charles V. François's captivity at Charles's hands would last more than a year and permanently color relations between the two rulers ever after.

[Source: R. J. Knecht, Renaissance Warrior and Patron, chapters 8-11]

Tapestry of the Battle of Pavia