Blogging HNS2013: Locations in historical fiction

I learned the most damning news at the recent Historical Novel Society conference: visiting every country where my stories take place is NOT required. Shut the front door! What? Boo, hiss! Of course traveling to a story's location is required; how else can readers obtain an authentic feel for a place in time if the writer hasn't even seen the sites? Sensory detail; the touch, feel, smell and even tastes of a locale establish themselves in a reader's mind through thorough exploration. Now, how am I supposed to justify any little jaunt as "research" if I'm not required to go? This question took me back to a moment where my nephew suffered some major disappointment that really affected his two-year old life (something about some broken toy) and with the saddest face ever seen on a kid, he wondered, "Now, what I gonna do?"

Well, according to the presenters Sophie Perinot (The Sister Queens) Eliza Knight (The Highlander's Triumph), Kathryn Johnson and Adelaida Lucena de Lower (The Red Ribbon) and the moderator, Stephanie Dray (Lily of the Nile) of Location, Location: Transporting Readers to Historical Settings, authors who can't travel to their settings in historical fiction should still keep calm and write on. Ladies, you shattered my world (or at least the little lies I tell myself to justify certain repeated trips).

There are practical reasons why accessibility to a site is not always possible. As Stephanie mentioned, the locations of her novels are in ruins and underwater or in places where travel is not safe. Kathryn and Eliza suggested in those instances an author can relying on virtual tours, Google Earth and YouTube tours. While setting feeds into the authenticity of a novel, lack of access to a particular site shouldn't discourage an author. Adelaida added that it also possible to substitute a particular geographic location. If you can have access to a site, then details come alive. Sophie said jot down or photograph those things you won't see later (unless you can easily revisit), the feel of the building material or the streets beneath your feet, and the available vantage points from various locales within your setting.

All the presenters agreed on several points:

• Even where the details aid a story, don't get bogged down in them. Your reader will be tempted and likely will skim the dreaded information dump, instead, include only those details of place and time which are compelling.
• Historical settings change over time. If you're using a detail, make sure it’s pertinent and  did exist in the period you've chosen.
• Balance the desire to convey information about a setting with the reality of your characters. He or she should not suddenly notice things that they would ordinarily take for granted, no matter how unique the item may be.
• Location isn't just about setting. The emotions that characters experiences in a particular location can engage readers. If your character is imprisoned, mentioning the thick stone walls, iron bars and the small, confined space helps convey the proper mood.  
• Your readers will fall in love with the setting if you have.
• If you've done the research into a location well, you can establish yourself as an authority and thereby gain readers trust.

Next up, one of my favorite topics - historical fiction outside the mainstream. It's not just all Tudors and Regency, you know.

Blogging HNS2013: Swordplay and Its Influences on Culture

Ya'll know I'm a history nerd buff who loves to experience places and elements of the past, right? So, what's the best thing you can do for a girl like me? Apparently, if you just put a sword in my hand, I'll be on top of the world! As I so delicately supported the weight of this steel sword here, the weapon of choice for several of my male characters and one female character, one thing struck me. The metal is not as heavy as I imagined it might be. Makes perfect sense because if you're trying to survive a battle, can you be really effective with a weapon you can't even lift up, much less wield?  At this particular moment where the lovely J.F. Ridgley helped me by taking this shot, all I could think was, "Thank you, Jesus! I can now die a happy woman because I have held this sword in my hands." J.F. actually wanted me to pose with this beauty; I was more concerned about cutting my hair, dress or those purple manicured toes you can't see in my sandals. Oh yeah, and of course, the lives of other attendees too. Next time, it'll be jeans and sneakers for that kind of demonstration. It couldn't get much sweeter than this moment, folks. Well, it could (millions of daily sales on Amazon would just about do it), but very little topped the swordplay session during the recent Historical Novel Society conference in St. Petersburg.

Swordplay and Its Influences on Culture presented by David Blixt (Her Majesty's Will)

So, who do I have to thank for this amazing opportunity? The very wonderful and personable David Blixt is an author, actor and as soon became obvious, David clearly loves historic weapons and historical fiction. He also enjoys teaching authors how their characters would properly use such weapons. More on that later! David started off with an introduction to our enthusiastic audience on the history of swords and the mechanics of wielding a weapon.  First, he talked about the parts of sword. There’s the boss or pommel, the non-pointy, other end of the sword, which can apparently be used to bash someone’s head in (never had anyone do that in my books before, but will remember that for use in future titles). Also handy for keeping a  sword in one's hand.

The grip or handle that always seems to be covered in leather strips is followed by the crossguard, or as my Norman / French characters might have referred to it, the quillon. It's the horizontal piece of metal. Interestingly, at least to me, the crossguard does not appear in earlier weapons, as I found out in researching warfare between the Norman English and Welsh. The pommel, grip and crossguard make up the sword's hilt. The blade has different parts to it; the tang is the blade shaft that fits into the hilt and the forte is the section closest to the hilt. The fuller or the groove down the center is mistakenly called a blood groove, but I can't remember why - sorry. The foible, which for a geek like me suggested the weakest part of the blade even before I was told just that, and the tip of the blade follow. The tip's what Arya Stark would call the pointy end or most of us would say is the "business" end of the weapon.

David talked about the evolution of swords firsts used as hacking weapons. Leave it to the Romans to figure out that while their Germanic enemies were essentially wearing themselves out by fighting against armored soldiers behind shields in formation, the best weapon to use would be something that could be easily pointed and thrust into someone's exposed parts. The gladius was born! The Romans always fought right-handed so that the left could be defended by the shield. The broadsword and longsword developed later and could be used with both hands. Then come rapiers for slashing and stabbing. Another interesting tidbit is that English rapiers were limited to 33 inches so people wouldn't walk around the court of Queen Elizabeth I cutting each other to pieces. 

David also mentioned a neat tie between dance and fighting; Shakespeare's dancing masters were also trained in the swords and dances of the time reflected weapons training. The particular bow adopted where one leg was extended also happened to allow the hands to quickly grab a sword as soon a person straightened. It may be that from this action where we can find the origins of  the phrase, "Break a leg" or rather make a leg. In his wrap-up, David also mentioned fight books detailing moves by the 15th century master Hans Talhoffer and Fiore dei Liberi are available if authors really want to study the moves and positions.

But what's better for an author than training with the weapons our characters use? There were broadswords, longswords, rapiers, daggers and axes on hand at David's session. Even better, everyone of us who wielded something managed to survive and not kill our fellow attendees, which is always a plus - blood is so hard to get out of thick carpets! David showed us how to put weapons to effective use. For our characters, of course!

  

David also provided a link to Starfire Swords Ltd., which makes a variety of swords and daggers. I have now found the best looking Middle Eastern scimitar I have ever seen and of course, must buy it. For decorative purposes, of course. In addition to thanking David for an excellent workshop, I also need to pick his brain about a match-up for a future book: need to know when comparing the medieval swords used by Christian knights and the scimitars of the Middle East, the sort of advantages one type of weapon might have held over another.

Next up will be another of my favorite sessions on locations in historical fiction! 

Live blogging from HNS 2013: Religion in Historical Fiction

Well, sort of live blogging. Hello from beautiful St. Petersburg, Florida! I know you might be thinking, "Wasn't she just on vacation in Barbados? What's she doing in Florida now?" Or not. I am very happy to be attending the 2013 Historical Novel Society's 5th Annual North American conference. This one is occurring at the Vinoy Renaissance Resort. I've been to the HNS conferences before, but after several years' lapse, I'm here and a member of the society again. I missed the Friday night banquet due to some luggage and travel issues - miffed, but I got over it. The setting has veered between being hot as all hell to a torrential downpour in a matter of minutes. Gotta love that unpredictable Florida weather! To make up for all that, the sessions have been spectacular! I'm sharing a few highlights of each one I've gone to so far.

Depicting Religion in Historical Fiction, presented by Stephanie Dray (Lily of the Nile), Kamran Pasha (Mother of the Believers) and Mary Sharratt (Daughters of the Witching Hill), and moderated by Teralyn Rose Pilgrim. 

As you may know, I have written about Muslim, Jewish and Christian characters, so I'm particularly sensitive to this topic. I'm a huge admirer of author Sherry Jones, but each time I write part of the Sultana series, I can't help remembering the tribulations Sherry so graciously endured when her Jewel of Medina was published. How does an author tread the fine line between engaging readers and courting controversy by discussing religion in novels?

As the discussants all mentioned, religion matters. Belief has shaped society and given it purpose. Authors at times are afraid to offend or think the characters of various religions will seem almost alien and won't foster connections with readers. Stephanie talked about how ancient world religions are foreign to most, yet she discovered in writing about Cleopatra's daughter that Isis worship is a forerunner to Christianity and many would be surprised at how some of its practices mirror those of the past. Scandalous! Kamran, as a practicing Muslim, is quite conscious and sensitive to the need to write with authenticity about his own religion, as well as the others he depicts. The biggest takeaway he offered was about overcoming one's own prejudices to write about belief faithfully. In his words, "Be cool with what you got" which means that if you are grounded and comfortable in your own convictions as an author, you can write with ease about other religions. There is the image we each hold of a religion and then there is the experience of that belief system, two very diverse concepts. Mary suggested that in writing about religions, authors refrain from criticism of beliefs which diverge from their own; personal conviction should be treated with respect because everyone has different POVs. Sound advice.

As with any controversial topic, some readers are liable to take offense where religion is involved. The panelists all suggested that this risk only adds to the discussion, so authors should not be afraid to take on the topic. Religion divides and unites universally. I think Stephanie put it best, "All spiritual people seek the same thing. Religion is a human experience."

Do you read or have you written works that incorporate religion and practices of faith? What do you think of novels that do this? How have your own personal beliefs been affected by what you have read? Are there recent novels you can think of which have handled religion very well?

Later, weapons in historical fiction, with pictures! Yours truly got to handle a broadsword, rapier and axe (I swear, no fellow attendees were harmed in this attempt).       

Writers' Conferences in 2012

Looking to network with fellow writers, agents and editors next year? I can't say enough good things about writers' conferences for building those all-important connections. So far, I've managed to attend meetings of the Historical Novel Society and Writers' Digest, both well worth the costs because of the diverse topics each offered to writers. You can learn the basic elements of craft, how to sell manuscripts and market your published works, insight into character sketches and research, or pitch to your dream agent or editor. Conferences are one of the best opportunities to aid personal growth and reach your publication goals. If you're worried about financing a future trip, I hope this listing of the following conferences in 2012 will give you ample time to save up - you'll want to attend at least one these venues next year. 

January 2012

2012 Writers' Digest Conference: January 20-22, Sheraton New York Hotel. $525 for general three day registration, $375 for Saturday attendance only or $275 for student registration with student ID and proof of enrollment. Note that this does not include room reservation. Highlights: Author Barry Eisler & agent Chuck Sambuchino.  


13th Annual Society of Children's Book Writers & Illustrators Conference: January 28-29, Grand Hyatt, NYC. Early registration rate of $360 for members, $450 for non-members. 

February 2012

2012 San Francisco Writers Conference: February 16-20, Intercontinental Mark Hopkins Hotel, California. $595 general registration (ends December 31, 2011), $695 thereafter, $645 includes Speed Dating with Agents session. Room rate $179 per night. Highlights: Author Lisa See.  

March 2012

Sleuthfest 2012: March 1-4, Royal Plaza Walt Disney World Resort, Orlando, Florida. Sponsored by the local Mystery Writers of America chapter. $255 for MWA members, $275 for non-members by January 15 to avoid a late fee. Room rate $119 per night. Highlights: Author Charlaine Harris. 

April 2012

Romantic Times Booklovers Convention: April 11-15, Hyatt Regency O'Hare Hotel, Rosemont, Illinois. Varying rates for writers and industry insiders. Room rate $130 per night. 

May 2012

DFW Writers' Conference: May 19-20, Hurst Conference Center, Dallas-Forth Worth, North Texas. Regular registration $295 until March 19, late registration $325 until April 19; thereafter $350 until May 19. Highlights: Author James Rollins.

Backspace Writers Conference: May 24-26, Radisson Martinique, NYC. $425 conference registration through February 1; $525 thereafter OR $595 conference registration includes author-agent day through February 1; $720 thereafter.  Call for room rate. Highlights: Agent Donald Maass

June 2012

32nd Annual Romance Writers of America Conference: July 25-28, Anaheim Marriott, California. Registration opens January 16. Varying rates based on member, non-member and early or late registration status. Highlights: Authors Stephanie Laurens and Robyn Carr.    

July 2012

7th Annual ThrillerFest: July 11-14, Grand Hyatt, NYC. Varying registration packages. Call for room rates. Highlights: Authors Jack Higgins, R.L. Stine, Lee Child and Catherine Coulter (whom I always thought of as a romantic novelist - learn something new everyday!).

August 2012

Killer Nashville: August 24-26, Hutton Hotel, Tennessee. Varied  registration rates, including student and senior citizen discounts. Highlights: Authors C.J. Box and Peter Straub.  

September 2012

8th Annual UK Historical Novel Society Conference:  September 29-30, The University of Westminster on Regent Street, Central London, United Kingdom. Registration details forthcoming.

October 2012

Surrey International Writers Conference 2012: October 19-21, Sheraton Vancouver Guildford Hotel, British Columbia, Canada. Receive updates on registration rates. Check room rates online. 

November 2012

American Christian Writers Conference: November 2-3, Phoenix, Arizona. Registration details forthcoming.

December 2012

Check back for updates.


If you decide to attend any of the conferences, safe travels, and enjoy the experience! I'm sure you'll find it worthwhile.

What Motivates You?

Bill O'Hanlon wrapped up the final day of the WD conference with a very appropriate topic; energizing your writing with your skill and perseverance. He and other authors shared their motivational sources and stressed using your emotional states of Blissed, Blessed, Pissed and/ or Dissed in your writing, to keep yourself going even when it gets tough.

Motivation can come from both negative and positive events in your life. Who would guess that a career as a mystery writer would begin for Sue Grafton, while dreaming up imaginative ways of killing or maiming her soon-to-be ex-husband? If you're angry about a particular condition or a crusader who wants to change the world, like Andrew Vachss in his crime fiction, channel your anger into your writing.

What's your motivation?

When Is It Time To Get a Freelance Editor?

At the WD conference on Saturday, three independent editors, Alice Rosengard, Ruth Greenstein and Linda Carbone led a lively session on the freelance editing. I've blogged about this issue in recent weeks and decided to attend the session.

The freelance editors discussed when the need for their services arose, as editorial departments at various publishing houses began to downsize. They also provided several means of locating editors through other writers, Publishers Marketplace, and direct hire. They shared their individual approaches to editing, looking at technical concerns such as POV, sequence of events, character development and veracity; the average costs of such services, the length of time it can take dependent on the quality of the work, and the things a freelance editor cannot guarantee the author, such as a sale.

The topic is of particular interest to me because I've decided to hire a freelance editor, whom I had the pleasure of meeting two years ago at the Historical Novel Society. We've barely started but I'm already impressed by her professionalism and the recommendations I've had from her previous and current clients. What made me decide to do this? As Ruth Greenstein advised attendees today, I've reached a critical point in my manuscript; I've done as much as I possibly can with it. It's gone through a critique group and I've revised and edited until I felt I would go mad. Now, I feel is the time for fresh eyes to spot the difficulties I'm NOT seeing.

I don't know what the result may be, but for a work that is so precious to me, I've often referred to it as my baby, it's worth the investment.

What Kind of Writer Are You?

Jane Friedman, editorial director of Writers' Digest, started her session, Decisions, Decisions: Deciding the Best Publishing Route for You at the conference, with "What Kind of Writer Are You?".

a) The "God" Category
You want to be published by the big six publishers and make millions of dollars. You live and breathe your writing and you may just have the commercial appeal to pull it off. But even though you are the God of Writing, you still need to: promote! promote! promote! (So, apparently even gods have to do some work.)

b) "Growing" Category
People who are starting out and are focused more on the writing and have room to grow in the marketing world. You're on your way (possibly) to acknowledging that rejection is part of the business but you're willing to be persistent.

c) "Authority" Category
Especially for non-fiction writers; you know your audience better than a mainstream publisher or you've created a niche for yourself and you can convert fans of your work into buyers.

I'd define myself as a growing writer, because quite frankly, I'd never consider myself in the "God" category. My critique groups can attest to this, cause I often actually say in my comments to them that I'm not the God of Writing.

I've met enough writers with ego who aim to be Gods and I wish them good luck with it. They have the drive to get there and the single-minded motivation to do it. I had a friend once ask me, if I wasn't aiming for the stars, what would be the point?

While publication is the ultimate goal, if it never happens, I won't stop living. It is one part of my life; a very important part but my success or failure at it doesn't define me.

So, what kind of writer are you?

Writers' Digest: The Business of Getting Published

This weekend, I'm at a conference in NYC, the Business of Getting Published, sponsored by Writers' Digest. I attended the opening address by Mike Shatzkin and Jane Friedman's session on deciding the best route towards getting published.

This is only the second writing conference I've attended, but I love them, for the chance to network with fellow writers. It's always reassuring to realize that whether fiction or non-fiction, we share the same concerns regarding the current and future state of publishing. Especially when the universal approach from most publishers has become an expectation that their authors should do more (Facebook, Twitter and all social media - promote! promote! promote!) with potentially less (advances, that is).

I'll be blogging about the conference all weekend. Looks to be a good one.