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Historical Fiction Author – Blythe Gifford

18 Thursday Apr 2013

Posted by in Historical Fiction, Researching historical fiction, Writing Process

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Blythe Gifford HeadshotI’m very pleased to have Blythe Gifford appearing today. Blythe is known for creating a wonderful balance between history and romance. She has written medieval romances featuring “characters born on the wrong side of the royal blanket” and is writing a series set on the turbulent Scottish Borders of the Tudor era. 

I see that your tagline is ‘On the Borders of Historical Romance’, what made you choose that as your focus?    My Brunson Clan trilogy is set on the Anglo-Scots border during the early Tudor era, so it refers specifically to the Scottish Borders.  But beyond that, the term “borders” refers to two other characteristics of my work.  First, the time periods I choose tend to be outside the current mainstream of historical romance, which is squarely focused on Regency England.  And second, my work tends to be close to the edge where historical romance becomes historical fiction, so it refers to that border as well.

You have written several historical fiction novels and have been successfully published by Harlequin Historicals. What do you think attracts readers to your books?    To paraphrase an old presidential campaign motto, “It’s the romance, stupid.”  By which I mean that first and foremost, my readers want an emotional love story with a happy ending.  That said, my work is grounded in history and virtually all my books have included a real historical personage as a character, which is a little unusual for historical romance.  Despite this, my stories are very much about the people who lived it and their emotions.  As a result, I hope reading one of my books is like living a slice of history, not just reading about it.  I once had a line on my website, “to them, it wasn’t history, it was life.”  I can only guess that my readers enjoy that experience.

Do you have a particular approach to research and writing?    At the beginning of a project, I’ll read generally about the time period, until I find the “hook” that drags me in.  For example, when I was developing the Brunson Clan trilogy, I read broadly about the Reiver era, in general, across the entire 16th century.  Scottish Border Ballads are a great legacy of this area and the story behind one of them, “The Ballad of Johnnie Armstrong,” caught my attention.  It seems there was a Reiver who was enticed to meet with the Scottish King under safe conduct but was hanged, along with his men, when he arrived.  I wanted Johnnie to have a happy ending, so that started me down the path, though I turned the entire story inside out.  Still, there’s a kernel there, a specific historical event, and that has been the case with nearly all my work.

As I get into the story, I’m always searching for the sensory details that will allow me to walk around in that world and experience it.  I have a map and a calendar at hand to keep me grounded, and in some ways, I find images better research than words.  But the physical sensations, scent, touch, sounds, really put me in touch with my characters.  The “everydayness” of real historical life is, of course, the most difficult thing to pin down, particularly before literacy was wide-spread.

As an example, in the second book of the trilogy, CAPTIVE OF THE BORDER LORD, the Brunson daughter goes to court, where she is out of place as a “country bumpkin.”  During the development phase, I participated in an historic dance workshop at the Romance Writers of America National Convention and experienced the types of dances they would have done at court then.  I consider myself a good dancer, but the first time through, I felt incredibly awkward.  That gave me a great insight into how Bessie Brunson would have felt, tripping over her feet before the king.

Have other writers of historical fiction influenced you and, if so, how have they influenced you?    I heard Philip Roth quoted recently as saying “After the first ten years, the influences fall away.”  Since I’ve been writing seriously for more than twenty, it’s a little hard to say what influences are left, but two books come to mind.  The first was not “historical” when it was written, but JANE EYRE was the first book I remember reading that was about “romance.”  It really gripped my junior high school heart.  I have a theory that romance writers are either about Jane Eyre or Jane Austen (apples and oranges, I know!), and I’m all about the Eyre angst.  While the Regency era is the most popular in historical romance, it never drew me and I blame both Charlotte Bronte and Anya Seton for that.

Seton because around that same time, I read Anya Seton’s KATHERINE.  That book more than any other gave me my profession.  It sparked a lifelong interest in fourteenth century England and the impact that love, and the resulting royal bastards, could have on history.  When I started writing romance, I began in the fourteenth century and my first books usually featured royal bastards, real or imaginary, as main characters.  That was a direct result of my love of the subject and time period sparked by that book.

What ingredients do you think make for a favourite historical fiction author? Do you deliberately plan for these ingredients in your writing?    First of all, any author must tell a good story.  The basics of craft (pacing, character, dialog, plot) must be strong.  I’ve seen writers use the novel as an excuse to drape lengthy descriptions of period food, clothes, and politics around a flimsy story.  Or, conversely, they assume readers already know the history and explain too little, so the reader is left confused and, worse, feeling that historical fiction is only for the already educated.  It’s a real challenge to whisk the reader into the story while sprinkling just the right amount of historical detail and context into the mix.  I try to get that right and hope I succeed.

How do you select new stories to tell?    It’s a delicate balance between writing the stories that call to me and still positioning them in the commercial space.  My decision to write the Brunson Clan trilogy is a good example.  I wanted to write a trilogy, because readers love them, and I thought to move from medieval England across the border into Scotland because Scotland is second only to Regency England in popularity.

However, the Scottish Highlands, where most romance is set, called to me not at all.  The Borders, on the other hand, was in the center of the Anglo-Scottish conflict for three hundred years.  It was a good fit for my interests and, as I explained above, I settled on the early 16th century because of the Ballad of Johnnie Armstrong.

Though I was all set to promote my “Scottish” trilogy, when it came time to market the books, my editor tagged them as “Tudor”, so my description became the Scottish Borders of the early Tudor era.  And, not to my surprise, I’ve had several lovely reviews of my “Highlander” books.

But I have story ideas stacked up like planes on the runway.  I hope I have time to get to them all…

What techniques do you employ to write productively?    Do you have some to share?  Let me know!  A few tips I can suggest.  I write at the same time every day.  I don’t wait for the muse to strike.  I set word count goals and have learned to delay revising hard copy until late in the writing process instead of printing and revising daily.  With the Brunson books, the primary research applied to all three books, although I still had new things to learn for each story.  That, and knowing the characters well by book three, allowed me to write those books in six months each, a schedule I hope never to repeat!

Do you think of yourself as having a brand? If so, how would you describe it and how do you reinforce it?    My background is in marketing, so I’ve been very conscious of branding.  This business favors the predictably prolific writer, so I’ve tried to establish the hook of my brand in several books before moving on to something new.  First, I wrote about English royal bastards (literally), both real and imagined.  My last “royal bastard” book was set on the Borders, so to write a Borders trilogy, even though in a different time period, was a natural transition.  Next, while I might have been wiser to stay on the Borders, I’m going back to fourteenth century England and the court of Edward III.

There are other time periods I would like to write, but have postponed in order to establish myself in the reader’s mind.  Ultimately, I think a writer’s voice is her brand.  And there, I’d describe myself as a writer of angsty historicals set in time periods of change and disruption.  There’s a lot of competition, however, and “royal bastards” or “early Tudor Scotland” may be easier for readers to relate to as an introduction.

What do you do to connect with readers?    A website, newsletter, Facebook page, Twitter, Pinterest, Goodreads.  I blog with the Unusual Historicals group and I did extensive guest blogging to promote the trilogy.  But I’m most consistent on Facebook.

What do you know about your readers?    Romance readers as a whole are voracious readers and they read across many genres.  Most are women, yes.  My readers tell me they read in multiple formats – as many in e-book as in print and many read both.  Libraries are still important sources of books for them, too.  I’ve been honored to hear from readers in many countries, since Harlequin has made my work available around the world.  I must admit, I’m still really amazed when I receive a fan note from someone I don’t know personally!

What data do you collect about your readers?    Their email addresses if they will share them.  I occasionally ask questions on Facebook about what/how they are reading, but I don’t have ZIP codes or mailing addresses.

What strategies guide your writing career?    Strategy is too grand a word!  Just a few guidelines.  Don’t chase trends.  Keep showing up at the page.  Stay true to your muse.  Have faith.  Don’t worry about what you can’t control.

What would you do differently if you were starting again?    Two things.  I would have started earlier and I would NOT have spent six years writing my first book.  Such a rookie mistake!  Finish it and move on!

Do you have any advice for writers of historical fiction?    Remember that the book is not about history.  It’s about the character.  The history in the book should only be included to the extent that it touches the character and brings him or her to life.

Is there a question you would like to answer that I haven’t asked?    A final comment, perhaps.  As writers of historical fiction, we face the particular challenge of making our characters authentic yet accessible to the modern reader.  If we were to faithfully present the world view for our time periods, it is likely that the modern reader would not understand, nor sympathize with the characters.  On the other hand, to imbue an historical character with modern attitudes is as grating as anachronistic dialog.  This is a tug-of-war particular to our genre, I think, piled atop the usual authorial angst.  That said, I love the journey of discovery that awaits me with each book.

Thanks for having me.

And thanks for participating, Blythe. I love your down-to-earth views on the business of writing. A few items spoke to me: don’t spend six years on your first novel (wish I’d heard that before the six years spent); the balance of historical accuracy and accessibility to a modern day reader; “story ideas stacked up like planes on a runway” is such a great image which probably resonates for many writers. You’re the first author who has considered the notion of brand – congratulations on that!

 

Cover_ROTBW_lgBlythe Gifford has been known for medieval romances featuring characters born on the wrong side of the royal blanket. Now, she’s published a Harlequin Historical trilogy set on the turbulent Scottish Borders of the early Tudor era. The books are RETURN OF THE BORDER WARRIOR, November 2012, CAPTIVE OF THE BORDER LORD, January 2013, and TAKEN BY THE BORDER REBEL in March 2013. The Chicago Tribune has called her work “the perfect balance between history and romance.” Visit her at www.blythegifford.com, www.facebook.com/BlytheGifford, www.pinterest.com/BlytheGifford or on Twitter @BlytheGifford. Author photo by Jennifer Girard.

 

Historical Fiction Author C.J. Sansom’s Dissolution

08 Monday Apr 2013

Posted by in Historical Fiction, Historical Fiction Enthusiasts, Top Historical Fiction Authors

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Dissolution by C.J. SansomA few months ago, I developed a concept of ten essential ingredients for favourite historical fiction. Time to test another top author against those ingredients. To do so, I’ve chosen Dissolution by C.J. Sansom, the first in his series about Matthew Shardlake.

When a royal commissioner is murdered in the monastery of Scarsea, Thomas Cromwell, Henry VIII’s feared vicar general summons fellow reformer Matthew Shardlake to lead an inquiry. Shardlake and his young protege, Mark Poer, uncover evidence of sexual misconduct, embezzlement, and treason, but when two other murders are committed, they must move quickly to prevent the killer from striking again.

(1) Superb writing - Sansom’s prose is an easy blend of narrative and dialogue. Dialogue drives the action of this novel from the very beginning, while narrative situates us in time (just after the death of Henry VIII’s third wife, Jane Seymour) and circumstance (the dismantling of Catholic monasteries). Sansom’s dialogue flows smoothly. He sprinkles it with phrases of the Tudor period and references to events of the day, but rarely confuses the reader. I quickly identified with Matthew Shardlake, a man of influence who suffers the stares and jeers of others because he is a hunchback, and Mark Poer, a promising young man with a troubled past.

Once Sansom takes us to the monastery, we meet a host of main characters: Abbot Fabian, Prior Mortimus, Brothers Guy, Edwig and Gabriel, Alice who serves in the infirmary, Brother Bugge who guards the monastery entrance, Brother Jerome who was racked in the tower of London. Several minor characters  appear as the mystery unfolds. I found such a large cast of characters confusing, although perhaps that’s what Sansom intended, and they remained more like stereotypes than individuals: the brutish monk in charge, the homosexual monk, the penny-pinching bursar, the religious zealot.

In terms of pacing, Sansom weaves action and tension into the novel as we follow Sharlake’s investigation of all aspects of monastery life, uncovering facts and hints pointing at one monk or another as the murderer. There’s a murky marsh behind the monastery said to be used by smugglers, a secret passage, a young girl who purportedly ran away though some think she was murdered. We are kept waiting, as befits a murder mystery, until almost the very end to discover who did the deed and at the last moment, there’s a surprising twist.    7/10

(2) Dramatic arc of historical events - The main story takes place over a few weeks but the story behind the story – that of the dissolution of Catholic monasteries – looms in the background adding to the tension of Sansom’s story. A third plot line revolves around Shardlake’s gradual awareness of Cromwell’s willingness to destroy anyone who gets in his way. And then, of course, we have a bit of romance.  7/10

(3) Characters both heroic and human - Matthew Shardlake is both heroic and human, his side-kick, Mark Poer, provides a useful counterpoint as the young, talented assistant whose ideals lead to choices that are contrary to Shardlake’s. Matthew never falters in the quest for justice, putting himself at risk on several occasions as he peels back the mystery. We also see him as a man with desires, doubts and insecurities. Sansom shows us a dedicated man, disfigured at birth who has been rejected by many, a man of faith and loyalty who intends to do what’s right. I had the sense that he might ultimately challenge his master, Thomas Cromwell. 8/10

(4) Immersed in time and place - Sansom’s opening sentence tells us where we are: “I was down in Surrey, on business for Lord Cromwell’s office, when the summons came.” A great hook that immediately grabs our attention. A little further into the scene, we read of “heads of those executed for treason stood on their long poles, the gulls circling and pecking” and “the throng of travellers and traders, cutpurses and would-be courtiers.” We know we’re in Tudor England.

When Sansom takes us to Scarsea, the monastery comes to life as soon as Shardlake and Mark Poer enter the courtyard. And over the next few chapters we explore each aspect of the monastery – infirmary, the abbot’s splendid home, the church, the refectory, the workshops, the bursar’s office – along with Matthew and Mark. Sansom paints wonderful pictures for his readers. The only negative is that some descriptions went on too long and slowed the pacing.  8/10

(5) Corridors of power - Lord Cromwell’s power is positioned from the very first chapter and looms over every plot turn and conversation, and dominates Shardlake’s personal thoughts. We see the corruption and machinations of Cromwell, the Catholic church, the reformers, and the nobility. It’s a brutal machine at work in a time of uncertainty. I feared for Shardlake, not because of the murder he was attempting to solve but because of his growing awareness of Cromwell’s true intentions.

“Around thrones the thunder rolls,” says Shardlake at one point.

Sansom also exposes the hypocrisy of the church and monastery life where wealth is accumulated and zealously guarded against the humble beginnings and Christian intentions of the Benedictines.  9/10

(6) Authentic and educational - Sansom skillfully gives the background to dissolution of the monasteries through Shardlake’s thoughts and various conversations he has with those inside and outside the monastery. We also learn about monastery life, its management structure, restrictions, demands and eroding adherence to Benedictine values. For some reason, C.J. Sansom includes two scenes about parrots, apparently a new exotic experience for that era. I could speculate that he wants us to compare those slavishly following Thomas Cromwell to parrots but if that was the intent, he needed to connect the dots a bit more.  8/10

(7) Ageless themes - class, loyalty, the destructive power of revenge, standing up for your beliefs and for people who are powerless, the pettiness of jealousy and the notion that those driven by wealth and power are often corrupted. In addition, Sansom uses Matthew Shardlake to discuss the differences between faith and religion. Occasionally, his characters sound like they are lecturing rather than conversing. Nonetheless these are compelling themes that remain relevant today. 7/10

(8) High stakes. In the best historical fiction, characters risk life, kingdoms, epic battles, fortunes, marriage and family on a grand scale. We have Mark Poer who risks his career for a chance at happiness, the murderer who, if caught, would likely be executed, the monastery brothers whose lifestyle is threatened. High stakes, but they didn’t captivate me as much as I hoped. 6/10

(9) Sex and love. Dissolution offers little in the way of sex and love to propel the story. I found the attraction between Mark Poer and Alice, the servant girl, somewhat unrealistic.  3/10

(10) Dysfunctional families. In dissolution, the dysfunctional family is the brethren living at Scarsea. Sansom refers to them as a family in several scenes and we find out quickly how dysfunctional they are. However, to be compelling, readers have to identify with the families within a story and I doubt most readers would do so in this case. As I write this, I wonder whether readers of Sansom’s novels are mostly men, and I am presenting a female perspective. 5/10

Near the end of the story, Matthew Shardlake visits the Tower of London to ferret out a clue to the murderer. Oldknoll, the tower armourer, has this to say about England:

A country full of godless crime. Papists and mad gospellers. We should hang them all.

A great comment that sums up the times and the danger people faced every day. I thoroughly enjoyed this novel and can certainly recommend it for those who enjoy mystery with their history.

Top Ten Ingredients of Favourite Historical fiction

13 Tuesday Nov 2012

Posted by in Historical Fiction, Historical Fiction Survey, Top Historical Fiction Authors

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In his book Hit Lit: Cracking the Code of the Twentieth Century’s Biggest Bestsellers, James W. Hall sets out twelve ingredients that drive bestsellers to the top of the charts. I’ve written about Hit Lit in three separate posts: Thoughts from Hit Lit, More Features of Hit Lit, and Hit Lit – the Final Six Features. According to Hall, best sellers incorporate the following: (1) an offer you can’t refuse, (2) controversy of the day, (3) colossal characters doing magnificent things on a sweeping stage, (4) America as paradise, (5) an abundance of facts and information, (6) inner workings of a secret society, (7) bumpkins versus city slickers, (8) God sells, (9) re-enactment of American national myths, (10) rebels, loners, misfits and mavericks, (11) fractured families and (12) sex.

Do the same ingredients apply to historical fiction? This is the question I’ve been deliberating for the last two weeks and I have some preliminary thoughts. I would be grateful for your feedback.

To come up with this list, I’ve analyzed interviews with top historical fiction authors (my own and others) and looked at reviews of their works in a number of forums. I’ve also looked for materials discussing the ‘popularity of historical fiction’. The survey I conducted last spring showed that the top three reasons people read historical fiction are to bring the past to life, to enjoy a great story and to understand and learn. Not surprisingly, these reasons are reflected in the ingredients that distinguish favourite authors and best selling historical fiction.

My analysis suggests the following critical ingredients.

  1. Superb writing. Similar to Hall’s first feature – an offer you can’t refuse – this ingredient covers prose, pacing, emotional resonance, plot twists and entertainment value. Table stakes for high quality fiction of any genre.
  2. Dramatic arc of historical events. In essence, successful authors are masters at finding and selecting what Hilary Mantel calls ‘the dramatic shape in real events’.
  3. Characters both heroic and human. Readers want to experience famous figures as believable characters complete with doubts and flaws. Readers also seek stories showing every day people accomplishing heroic tasks in times so different from today.
  4. Immersed in time and place. Activating all senses, authors like Sharon Kay Penman, Bernard Cornwell, Margaret George and others transport readers to another era from the very first paragraphs of their novels.
  5. Corridors of power. Whether ancient Rome, Tudor England or the American Civil War, best selling novels expose the structure, corruption and machinations of monarchy, military, religion, law, nobility, and upper-class society.
  6. Authentic and educational. Readers love to learn. The hallmark of a top historical fiction author is meticulous research followed by carefully chosen information to create a seamless blend of history and story.
  7. Ageless themes. Instead of Hall’s ‘controversy of the day’, favourite historical fiction dramatizes thought-provoking themes that are as important today as they were long ago.
  8. High stakes. Life, kingdoms, epic battles, fortunes, marriage, family. In historical fiction, characters risk on a grand scale.
  9. Sex and love. Men and women from long ago rarely chose their partners. Love was often thwarted. Women were pawns. Favourite authors incorporate this type of conflict. In addition, sex is frequently depicted as a turning point in the lives of heroes and heroines.
  10. Dysfunctional families. Kings beheading their queens, brothers killing brothers, daughters betrothed at the age of six, incest, rivalry between father and son, wives banished or locked away – merely a few examples of dysfunctional family life that are the subjects of successful historical fiction.

So … that’s my take at the top ten ingredients of favourite historical fiction authors. As mentioned above, I would truly appreciate your thoughts.

Historical Fiction Author – Jenny Barden

01 Thursday Nov 2012

Posted by in Historical Fiction, Researching historical fiction, Writing Process

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I am delighted to welcome Jenny Barden to A Writer of History. Jenny’s debut novel Mistress of the Sea has received enthusiastic endorsement from readers and writers of historical fiction. It’s an ”epic, romantic swashbuckling Elizabethan adventure set at the time of Drake, pirates and privateers”. Who can resist that combination?

How did an artist turn lawyer and then writer?     I spent most of my early childhood in make-believe worlds on quests to defeat demon kings, vanquish monsters and find my way through secret passageways in gothic castles and across treacherous crevasses. So, in a way, I began inventing stories before anything else, but the stories were in my head and role-play, not written down. The first expression of my creativity that anyone acknowledged was my painting. I was blessed with a natural talent for drawing, which my artist-mother encouraged, and throughout my schooling my reputation was so tied up with this gift that it seemed only natural that ‘Jenny the artist’ would one day study Fine Art at university. What I hadn’t counted on was the swing to abstract and conceptual art that coincided with my arrival as an undergraduate keen to learn the techniques of masters like Caravaggio. I was also conscious that at some point I’d have to earn a living, and that would be difficult if my only skills were in being able to pontificate on the ‘numinous transcendence of the linear in space’. Better to switch to a career that would pay well and paint freely in my spare time.

So I switched to law, left university with an LLB and began training as a solicitor articled (by pure chance) to a cousin of WH Auden in my home town of Burton upon Trent. Then I transferred to a distinguished firm of corporate solicitors in Throgmorton Avenue in the City of London. I ended up being one of the first female solicitors they kept on to specialise in company commercial law, and I practiced in that field until the arrival of children (four in total) effectively put an end to my legal career. I then carried on with my art at home while raising my children, and for a while that absorbed me completely, until a chance encounter with the magnificent portrait of Carel Fabritius which hangs in the National Gallery caused me to be so entranced by this artist that I determined to find out more about him. That search for information led to my first hesitant efforts at writing in secret (because I didn’t think I could write a chapter, never mind a book) but in the end I produced a fictionalised account of the artist’s life, on the strength of which I secured an agent, and thus my career as a writer began. Writing, I now realise, has brought all the threads running through my life together – invention and escape, the love of art and attention to detail, a passion for history and adventure; I’ve been able to combine a lawyer’s rigour in research with an artist’s visualisation and imagination – and that leads me nicely to your next question.

Which profession has been your passion?    At various stages in my life I’ve been passionate about all three, but my passion now – my greatest passion – is writing

How long did it take for your first book, Mistress of the Sea, to be published?     About two years from first submission. The book was initially sent out by my agent in the summer of 2010. Within two weeks, Gillian Green, who is now my editor at Ebury Press, took the book to acquisition meeting, but it was turned down by sales and marketing. I then spent the best part of a year revising the book and building a better platform as a writer. The book was resubmitted in 2011 and then several editors took it to acquisition meeting, amongst them Gillian Green, this time successfully. I finally signed a contact for a two book deal with Ebury just before last Christmas and, after further revisions and editing, the book went to print and was released in hardback, trade paperback and ebook on 30 August this year.

Based on reader reaction to date, what is attracting readers to your novel?    It’s still early days; my book has only been out just over a month, so there’s not been much time as yet for reviews and comment, though the Mistress has already picked up excellent ratings. I’d say that readers are attracted to the book by two things: first, what they’ve heard about it, and second, the look of it. In the main what’s driving the former is word about the book online. I’ve picked up an awareness of that by looking at comments on blogs and forums and social networking sites. For example, after an article of mine was posted on Sarah Johnson’s Reading the Past blog there were comments such as: ‘Very interested in this’ and ‘I’m looking forward to reading [Mistress of the Sea] as I love tales set on the high seas.’ There was a lot of feedback in that vein in response to posts I made on quite a few high profile sites (and much discussion about where Americans could get hold of copies as the book is not yet generally available in the US – one answer is here for those who are interested.

As for the look of the book attracting readers, I could see that with my own eyes when I did my first Waterstones’ book signing in Plymouth. I had a fabulous time, and sales were so brisk that I moved up from instore bestseller rank #12 to #6 (and even overtook Philippa Gregory – at least for that day!).My strategy was to watch customers as they came in. If they drifted over to the bestseller chart (conveniently situated near the main entrance and my signing table) then I’d strike up a conversation. Naturally I’d say a little about Mistress of the Sea if I sensed any interest, but what I said depended on who I was talking to. For younger women I emphasised the romance in the adventure and the thriller element, for men I stressed the action, for nautical types (usually bearded!) I said the novel was about Drake’s first enterprise, for those who were obviously Plymouth locals I said the story began and ended in Plymouth. For older women I made much of the sweeping core love story, and for families with children I said the book was about pirates. Very few customers didn’t buy it! But what helped in all this was that the cover appealed to everyone in a positive and eye-catching way. The jacket has an overall gold tint which is instantly attractive. The cloaked and hooded lady in the foreground immediately engages the interest of women, yet the cover is not so feminine as to put the men off – there’s a ship at sea in the background which helps them, and the text on the back of the hardback jacket sums up the story and hooks interest very neatly. I watched customers very carefully while they were pondering – hands and eyes give away a lot! So I have a pretty good idea as to what works with the jacket for the Mistress and, all in all, I’d say Ebury have done an excellent job. In terms of reader feedback so far, the main attractions of the book seem to be its subject matter (Tudor era and an exotic Drake adventure), the accuracy of the research, the credibility of the characters, the drama of the love story and the pace which quickens as the story progresses.

Do you have a particular approach to research and writing?     Of the utmost importance to me is getting as close as possible on the ground in the present to the pivotal scenes in which my stories are set. Only by ‘being there’ is it possible to gain some real appreciation of climate, topography, the natural environment and the conditions in which people must have lived at that location in the past. For instance, there is practically nothing left of Nombre de Dios in Panama as it was in Drake’s time, nonetheless I journeyed there and saw the shanty-style settlement that exists now with that name, and walked over the levelled site of the place, as near as I could determine it, on which the city had once stood in the early 1570s when it was of key significance to the episodes described in Mistress of the Sea. It doesn’t always happen, but quite often I find that if I ‘walkabout’ the place where one of my scenes is set then I can hear the characters speaking and feel them walking close beside me.I’m also fanatical about rooting out all the primary sources that might be relevant to the events in history that underpin my fiction. There’s been so much written about Elizabeth I, Sir FrancisDrake and the age in which they lived that it’s easy to feel swamped by the sheer weight of information available, yet, get back to the primary sources and, mercifully, what really matters thins out. These contemporary accounts are the most valuable of all for me in providing the hard evidence for what actually happened, and giving a sense of language and the attitudes of those involved at the time. It never ceases to surprise me how often, by digging deep, the ‘facts’ to which historians are sometimes perceived as having exclusive access, in reality prove to be no more than conjecture and speculation. There’s not enough space here to do this fascinating subject justice, but I’d say that historians are often involved in as much invention as storytellers, and that storytellers can provide as much insight into the past as historians.As far as my own personal approach to this process goes, obviously I’ll try to be faithful to the records, such as they are, but I’ll always have the story at the back of my mind, and be considering what will have motivated people at the time both in their actions and their accounts. From this foundation I’ll weave a narrative which I hope is both convincing and compelling. As to the interface between research and writing as a matter of practice, I research extensively before I begin in order to construct an outline, and I research as I go along in order to fill in the detail.

Have other writers of historical fiction influenced you and, if so, how have they influenced you?     Most certainly. Other writers have been a huge influence both in firing my imagination as a child and enriching my life as an adult. I’m an eclectic reader, but the fiction I enjoy most tends to be at the more literary end of commercial (though I really can’t stand literary fiction that’s up its proverbial!). I’m loth to pick out individual great authors because so many have made a profound impression on me, but I will say that recently I’ve found the work of Hilary Mantel extraordinarily fresh and energising. I believe she’s pioneered a new approach to historical fiction, bringing the past to life in a way that’s truly original, by getting right inside the head of a character (such as Thomas Cromwell), and showing not only what he might have perceived and felt, but his awareness as a stream of thought with all the fluidity of shifts in time and significance that this entails. I’ll confess to being in awe of her ability, though I would not dream of trying to emulate her or any other author, just as I won’t read fiction that’s at all close to my own when I’m writing because of the risk of inadvertently distorting my own voice. When I’m writing creatively my staple diet is non-fiction.

What ingredients do you think make for a top historical fiction author? Did you deliberately plan for these ingredients in your writing?     An understanding of human nature and the craft of good storytelling, rigorous research in the broadest sense and respect for the known history are all qualities that can be found in a top historical fiction author, but as to what ‘makes’ for one, that requires a special magic tied up with market trends and public awareness, and if I really knew the answer I probably wouldn’t tell you! Have I planned for any of these ingredients in my writing? No – I’ve been too busy trying to get my stories down and knocked into shape fit for publication!

Why did you select this story about Drake?     It’s such a fantastic little-known episode in Drake’s early career – a tale of endurance, courage and triumph against the odds, and it’s right at the crux of the emergence of England as a significant power and the dawn of the Elizabethan Golden Age. It was England’s mastery of the sea, which began with the opportunism of Drake and others like him, that led eventually to the defeat of the Spanish Armada, the development of the British navy and ultimately to the growth of the British empire. There are also so many inspiring facets to this true story that make it of special significance today: the fact that so few people could achieve so much, that Drake only succeeded with the help of Huguenot freebooters and escaped African slaves, that Drake stared defeat in the face not once but several times and never gave up, that he suffered terrible personal tragedy – the loss of many of his crew and two younger brothers – but still carried on. It really is a fabulously uplifting story in its conclusion, and with the love interest I’ve woven into it I think it’s a story that will hook anyone.

You already have a follow on story planned, what advantages do you think that presents? Any disadvantages?     Being able to talk about the second book is a boon while I’m promoting the first. It gives readers the reassurance that there is more to come. Mistress of the Sea will not be a shooting star but the beginning of something larger. ‘What next?’ is such an obvious question that I’m very pleased to be able to answer it from a position of strength – there will be another book that my publishers have already commissioned. Of course the disadvantage is that I now have a deadline which already feels very close and the pressure of producing another novel while I’m still busy promoting the first.

What techniques do you employ to write productively?    The best technique for me is to begin early and distance myself from interference. So I don’t write at or near my computer during the first draft stage, but rather scribble down my thoughts longhand – I find that enormously liberating. The biggest distractions for me are emails, twitter and facebook - though they’re also some of the most useful tools for promotion, so I wouldn’t cut myself off from them altogether. I just try to keep well away from my computer until I’ve made progress in achieving my daily word-count target. Mind you, my output is hugely variable, so the target is not something I get too worked up about! It’s simply useful in keeping me focused and giving me a sense of progress when I’m in writing mode – and there’s another rub – I can’t always flip on the writing switch when I want to. When I’m preoccupied with ‘other stuff’, whether it’s co-ordinating the HNS London Conference as I have been recently, or travelling to some event to promote my first book, or simply dealing with the demands of family life, then I can’t write at the same time. I try not to fret about that, but tackle issues early before they become worries and get down to my writing in a relaxed state of mind. Cycling or walking with the dog helps a lot! There’s nothing like fresh air and a change of view to help free the imagination!

Are you trying to create a brand? If so, how would you describe it and how do you plan to reinforce it?     The brand is Jenny Barden! I think all authors aspire to creating a brand unique to their genre, subject areas and voice. At the risk of over-simplifying, I’d say my genre is historical fiction, and my subject areas (so far!) are Elizabethan epic adventures away from the royal court. My principal protagonists are a fictional ‘Everywoman’ as well as an ‘Everyman’, and my voice is lyrical but accessible. But please read Mistress of the Sea and judge for yourself. That’s my brand. I’ll reinforce it with the next book, The Lost Duchess, which will be another Elizabethan romantic adventure based on the first attempt to found a permanent English settlement in Virginia.

What do you do (or plan to do) to connect with readers?    I hope to reach out to readers by engaging in interviews like this, making myself visible, approachable and always responding to interest. I have a fairly strong following on Twitter (@jennywilldoit) (over 2,200 followers) Facebook and Goodreads – so these are prime platforms for connecting with readers. I also have my website and I blog with English Historical Fiction Authors provide occasional features for the Historical Novel Society, and I contribute to other sites on an ad hoc basis. On top of this online activity, I make myself available for booksignings at stores and give talks in libraries, museums and other places (eg at the Golden Hinde near London Bridge on 2nd November. I also speak at literary festivals (eg the Bristol Festival of Literature and conferences (eg HNSLondon12). I’m looking forward to giving talks to book and reader groups as well.

What do you know about your readers?     I believe the bulk of my readers so far have been intelligent well-educated women in the 20-60 age-group. I say that only based on personal observation.

What data do you plan to collect about your readers?     I hope my publishers will enlighten me more! – But I’ll also gain in understanding of my core readership as I continue with my promotion.

What strategies have guided your writing career?     Grim determination!

What would you do differently if you were starting again?     I wouldn’t be nearly so precious about my writing as I was initially.

Do you have any advice for writers of historical fiction?     Keep reading HF and join the HNS!

Jenny – many thanks for participating. I know readers will find your background and insights of great interest. I particularly like your answer ‘grim determination’ concerning the strategies that have guided your career. It’s clear that this has paid off! I’m also interested in your perspective that historians employ conjecture and speculation just as writers do. An intriguing thought to keep in mind. I wish you loads and loads of success with Mistress of the Sea and your next book.

Historical Fiction Indie Author – Richard Denning

18 Thursday Oct 2012

Posted by in Connecting Readers & Writers, Historical Fiction, Writing Process

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Several weeks ago, Geri from B.R.A.G. Medallion contacted me. This organization’s mission is “to recognize quality on the part of authors who self-publish both print and digital books” and to be “your single source for the best in self-published books”. A laudable goal given today’s industry dynamics. In turn, Geri put me in touch with Richard Denning, an indie author from the UK who writes historical fiction and has been recognized by B.R.A.G. Medallion for his writing.

You write a combination of historical fiction and historical fantasy. What do you love about immersing yourself in history? What sparked your interest in Anglo-Saxon times? What was the impetus to add writing to your work in the medical profession?

As you say I work as a General Practitioner (family doctor) with a North Birmingham practice. The day job is full of the gritty reality of day-to-day life so I find that when it comes to reading, TV, movies and hobbies I shy away from modern day reality. I have always had a strong interest in historical settings (as well as fantasy and sci-fi). I just find the past or other worlds far more interesting than the modern world. I don’t like politics much and there are many frustrations in the day job – not so much the patients as the politics and reforms – so I just like to get home at night and forget all that nonsense.

So for me writing is another form of escapism really. A writer can make up their own reality and populate it as he sees fit. There are no Health Service reforms in Saxon England!

Now the dark ages in Britain are a fascinating times. It is a cooking pot of races struggling to carve out a nation. Unpredictable, terrifying and exciting. It is a land full of colourful characters – warrior kings, religious leaders, poets and alongside them the ordinary man. We know so little about them that I wanted to find out more and then spread on that knowledge and interest.

Do you have a particular approach to research and writing?     My house is full of books on Anglo-Saxon England. If I see a book I don’t own on this period, especially the underrepresented early period then I will probably get it. When researching a period I will check what I have on it. The internet is a vast help these days but I love to visit locations and walk them. There is nothing quite like standing where Wellington and Napoleon did for example to appreciate what happened at Waterloo.

As for writing I start with what I call my working document. This will contain an outline of the book as well as an outline of the characters. I like to get an idea of where the book is going before I start writing it BUT I also find that it will evolve as I write and new ideas spring up.

Have other writers of historical fiction influenced you and, if so, how have they influenced you?     My preferred reading would be Bernard Cornwell or Terry Pratchett, Douglas Adams and Tolkien. Bernard Cornwell is of course a legend of Historical Writing but I also enjoy the Flashman Stories of George Mac Donald Frazer, the Roman mysteries of Steven Saylor, the Cadfael books, the Eagle series by Simon Scarrow. All these writers feature strong, well developed characters around which the story hangs. Many are great writers of battles – Cornwell a master of course – and I do love to read and write a good battle scene. They also describe well the locations they visit and I think that is important as it is reading about often lost locations that transports the reader back to those places.

What ingredients do you think make for a top historical fiction author? Do you deliberately plan for these ingredients in your writing?     The writers I like to read do not drown you in history. They make you care about a character and let that character take you around the world exploring it. You see the world through their eyes and that is how you learn about the past world. I aim for that approach.

How do you select new stories to tell?     Some series have a natural story ark and that is easy. Others need me to plot out the overall story but I tend to finish one book and decide which story I fancy writing next.

What techniques do you employ to write productively?     I TRY and write a little each day. It is hard at times with the day job to juggle but even a paragraph moves it along. I would dearly love more time and energy but you just have to use what you have and make yourself get on with the jobs. The hardest part is the plot, then writing the first draft. I love the editing – that is fun and a reward when the initial hard work of slapping words on a page is done.

Do you think of yourself as having a brand? If so, how would you describe it and how do you reinforce it?     I blend History with elements of fantasy even in my purely historical novels and all my books are suitable for a Young Adult Readership as well as adults.  So I tend to focus on those areas of writing as well as targeting schools visits as a good way to reach readers.

Can you tell us a little about taking a self-publishing path – for example, what strategies are you employing? How much of the work do you do yourself?    I am self-published via Mercia Books which is my own publishing house I set up to publish my own books. I employ a professional editor, illustrator and cover artist to help with the books and I lay the books out in Indesign not word. I also convert to e-books myself.

What is your marketing approach? What do you do to connect with readers?    I am active on facebook: http://www.facebook.com/richard.denning1. And Twitter: http://twitter.com/RichardDenning. Have accounts also on Goodreads, Shelfari, Pinterest and Linked in although it’s the FB and Twitter I am most active on. I have  a blog: http://news.richarddenning.co.uk/ and maintain quite a lot of resources on Anglo Saxons times as well as self publishing on my own website: http://www.richarddenning.co.uk/ I also issue occasional newsletters to a maillist. I do a fair number of book fairs and craft fairs when I can and also try and book in schools visits. (To talk about Anglo-Saxons, Time Travel, writing and Publishing).

What do you know about your readers? What data do you collect about your readers?     I have a contact form on my website and add the contacts to my maillist. If I get emails about my books I always reply and try and answer questions. I have a mixed readership – as my stuff is YA I have a number of young readers who are keen on the books but also quite a few adults. I probably should do more to collect data and this question has made me realize I don’t know  enough. I do watch the Amazon sales via a book tracker site.

What strategies guide your writing career?     I am currently trying to write 1 to 2 books a year. I tend to follow the sales. So as The Amber Treasure and Child of Loki is doing quite well I am writing Princes in Exile – the next in that series. Shield Maiden has just won an award so I am also looking to get on with the second in that series.

What would you do differently if you were starting again?     I rather fell into the whole writing and publishing and in many ways wish I could go back 3 years and plan it all better. For starters, am I wise to have 4 separate series on the go?  The end result is I have 4 small groups of readers not one larger one!  I would certainly have saved a lot of money if I had researched it all well in advance and really sorted out my plans before publishing books.

Do you have any advice for writers of historical fiction?     Make contact with other writers. You can learn a lot by chatting to them, reading their blogs and following them online. Get to the Historical Novel Society Conference if you can.

Is there a question you would like to answer that I haven’t asked? Richard’s Question is: “If we enjoy a writers books what is the best way to show appreciation”

Richard’s answer:  Firstly let them know. Go to their website and email them if you can. Follow them on twitter as well and retweet them occasionally. A massive help – and I mean MASSIVE – is to write reviews and tag them on Amazon and Goodreads. Share the reviews with their friends. Self-published authors like myself are always swimming against the tide to get our books noticed. Readers can help with that a lot.

Many thanks, Richard,  for taking the time to tell us about your writing. I am inspired by how much writing you do in conjunction with working in such a demanding profession. I wish you every success.

Hit Lit – the final six features

10 Monday Sep 2012

Posted by in Historical Fiction, Top Historical Fiction Authors, Writing Process

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The first post in this series of three explored ‘tricks of the trade’ used by best-selling authors. The second post summarized five of James W. Hall’s twelve features from Hit Lit: Cracking the Code of the Twentieth Century’s Biggest Bestsellers.

This final post outlines Hall’s remaining six features.

Feature #7 – “Bumpkins versus Slickers”

In most bestsellers, there’s a central character who sets off on a journey that takes her from rustic America into turbulent urban landscapes … almost as often, the heroes of bestsellers make an exodus in the opposite direction

Hall and others refer to this as the hero’s journey, a structure that has worked in endless permutations to leverage the ageless clash between city and rural values.

Question: is feature #7 the commoner versus the nobility in historical fiction?

Feature #8 – “God Sells”

Our twelve bestsellers all feature religion in prominent ways, consistently critiquing orthodox religious practice and the dangers of zealotry.

The secular world is juxtaposed against religion that has gone astray and people who claim to adhere to religious values while clearly committing contrary acts. False piety, says Hall. Common sense struggles against religious conviction, science against faith. Langdon of Da Vince Code fame is an example – a man of science clashing with powerful religious leaders.

Question – does religion have such prominence in historical fiction?

Feature #9 – “Americans delight in reenactments of our national myths.”

The rise from humble roots to become rich and powerful. A character struggling against injustice and, finally, triumphing over oppression. And we are also grimly fascinated by the flip side of these stories.

Hall illustrates: Mitch McDeere’s belief in the American Dream (The Firm), Scout Finch’s triumph over racism (To Kill a Mockingbird), Scarlett O’Hara’s example of the virtue of hard work (Gone With the Wind), exposing injustice (The Da Vinci Code), the freedoms of American society clashing against communism (The Hunt for Red October).

Question – is there an equivalent to America’s national myths in historical fiction?

Feature #10 – Rebels, Loners, Misfits and Mavericks

The heroes and heroines … are all rebels, loners, misfits or mavericks. They don’t fit in worth a damn, and that’s one of the reasons we love them so much

Hall explains that the “tension between mavericks and conventionalists operates at the core of the biggest bestsellers”. Heroes of these novels reject conformity and convention. They are strongly individualistic.

Feature #11 – “Fractured Families”

In each of our twelve novels, a member of a broken family finds an ingenious way to transcend his or her crazy stress.

A few pages later Hall states that “twelve of the most successful novels in publishing history and not a traditional, fully functioning family among them, yet all our heroes and heroines find ways to make peace with their extreme losses”.

Perhaps these novels function partly as therapy for readers coping with their own family distress particularly at a time when the traditional family model is changing (some would say has changed).

Feature #12 – yes this is the last one – Sex

In every novel on our list, one key sexual encounter plays a decisive role in the outcome of the plot and in the transformation of the protagonist.

Scarlett’s sexual encounter with Rhett Butler. The false accusation of rape in To Kill a Mockingbird. Unresolved sexual tension between John Smith and his former girlfriend in The Dead Zone. Raunchy sex just before a woman is eaten by a shark in Jaws. Mitch McDeere’s infidelity on a deserted beach in The Firm.

The sexual language may be toned down to broaden the books’ mainstream appeal, but copulation, both violent and extreme, still plays a crucial role in the outcomes of these stories … somewhere in our national consciousness we know that one good roll in the hay can change everything.

 

So … there you have it, the twelve features of bestsellers according to James Hall’s analysis. By the way, he has one final ingredient to add – personal passion. “Without this one last ingredient, a novel might easily contain all the recurring features but still remain a lifeless pile of mush.” There’s still magic involved.

Feedback – what do you think? Do these twelve features resonate in the stories of your favourite historical fiction writers?

More Features of Hit Lit

08 Saturday Sep 2012

Posted by in Historical Fiction, Top Historical Fiction Authors

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Two days ago, I wrote about the ‘tricks of the trade’ that make a bestseller so gripping. The analysis comes from James W. Hall’s book on Hit Lit. Ultimately I’d like to consider Hall’s twelve features against some of the top historical fiction authors that readers identified in the survey and these posts are a way for me to clarify ideas in my own mind. Writing helps me think.

Let’s have a look at a few more features:

Feature #2: Raise the controversy of the day

For some hot-button issue to have real wallop, it also must express some larger, deep-seated, and unresolved conflict in the national consciousness.

Hall’s book is peppered with references to the American experience. (This is the time to explain that I am Canadian and hence accustomed to living in the shadow of our great neighbour to the south.) He gives examples of hot-button issues from the twelve bestsellers he’s chosen.

Gone with the Wind – published in 1936 where the hot-button issue was capitalism and its many failures. Remember this is a time when The Depression was a recent experience. In Peyton Place – the hot button was sex. To Kill a Mockingbird – published at a time when race issues were boiling. The Hunt for Red October – cold war paranoia. John Grisham’s The Firm – corporate greed. The Da Vinci Code – religious corruption and conspiracy. “And all of these stories explore some hot-button social issue of their day that is rooted in a long-term national dispute.”

Question: does historical fiction explore today’s hot-button issues or those of long ago?

Feature #3 – “Colossal characters doing magnificent things on a sweeping stage”

Hall asserts that bestsellers pit relatively ordinary people against high stakes situations. Readers are intended to connect to these characters, to be inspired by the aspirations, actions and bravery of everyday heroes like Scout Finch in To Kill a Mockingbird, Mitch McDeere, a small town boy made good in The Firm, Robert Langdon – really just a rumpled professor – in The Da Vinci Code. The characters become colossal because of the fight they take on. David and Goliath come to mind.

Question: are readers fascinated with historical fiction because it allows them to see the everyday person in famous people like Eleanor of Acquitaine or Thomas Cromwell?

Feature #4 – “America as paradise”

America as the new Eden. A land of second chances, fresh beginnings in the virginal wilderness.

Often the novel’s hero is alienated or exiled from their ‘homeland’ and struggles to return. That ‘homeland’ can be the land itself such as in Gone With the Wind and Scarlett’s home Tara, but it can also be a state of innocence, youthful idealism, a time of security, a parent or grandparent.

Feature #5 – “An abundance of facts and information”

Hall explains  that readers want to be informed, to “learn about the larger world”. Whether its the intricacies of a nuclear-powered submarine or the workings of a prestigious law firm or the “double-dealing of showbiz”, readers are fascinated with the facts and figures and the social arrangements and codes of behaviour within these worlds. Readers “read in order to peer inside secret places not open to them otherwise”.

Fact-based fiction has broad appeal because it is simple, hearty fare. No highly refined palate required. Anyone can buy a ticket.

Historical fiction certainly offers an abundance of facts and information.

Feature #6 – “All twelve of these bestsellers expose the inner workings of at least one secret society.”

Let’s have a look at Hall’s examples. The Godfather exposes the mafia. Jaws exposes the secrets of the sea. The Da Vince Code – Opus Dei. The Bridges of Madison County – the secret world of adultery. To Kill a Mockingbird – the KKK.

And here’s the punchline – our simple, everyday heroes triumph over these secret societies. Good over evil.

Question: in historical fiction do we see monarchies and the nobility as secret societies?

The final six features will be posted on Monday.

Insights from Hit Lit .. and author James W. Hall

06 Thursday Sep 2012

Posted by in Historical Fiction

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What writer could resist the title: Hit Lit: Cracking the Code of the Twentieth Century’s Biggest Bestsellers?

Having just finished this book, I’d like to share a few notable insights. Bear with me as this will likely require more than one post.

Here’s the first quote, one that James Hall includes from another author, Michael Korda who has written about American bestsellers.

 

At least half the books on any given week’s bestseller list are there to the immense surprise and puzzlement of their publishers … That’s why publishers find it so hard to repeat their successes – half the time they can’t figure out how they happened in the first place.

Aha … perhaps this is why my agent and I are having trouble finding a publisher for my novels!

Hall organizes his book to reveal twelve features of hit lit. The first feature is “An Offer You Can’t Refuse” – essentially tricks of the trade that make a story so compelling the reader can’t put it down. What are these tricks?

A novel must:

  • entertain
  • engage readers in a compelling, simple and dramatic premise
  • offer an unfolding story with “one complication after another”
  • include characters “of deep conviction and fervent, stubborn resolve, capable of passions that rise well beyond the normal range of human experience”
  • make the story worth the readers’ time by forging a “powerful emotional bond … composed of one part pity, one part fear”
  • minimize backstory
  • create “some form of serious peril” very early on
  • enhance the tension with “the power of the ticking clock”

Feedback: what historical fiction authors or novels do you think follow these tricks of the trade?

Next post … a few more of the twelve features.

Stories that sell – readers tell us

19 Thursday Apr 2012

Posted by in Historical Fiction, Historical Fiction Survey, Writing Process

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I’m a great follower of the Sunday New York Times book section – not only the reviews but the best seller lists and other regular columns. I look for ideas and trends and book recommendations.

TBR: Inside the List included a brief item called FLOUR, SUGAR, BUTTER commenting on James W. Hall’s book about best-selling novels. The following bits stood out:

  • “Three of the common features [of best selling novels] … are maverick heroes, high stakes and hot sex.”
  • “One ingredient not necessary in a best-seller … is graceful prose.”
  • And here, Hall is quoted directly. “The novel is a blue-collar form, and the language of best sellers reflects that legacy.”

I also cut out the NYT list of No. 1 books from one to thirty-five years ago published in early April.

  • 2011:  Toys – James Patterson & Neil McMahon
  • 2010:  The Help – Kathryn Stockett
  • 2007:  Nineteen Minutes – Jodi Picoult
  • 2002:  Everything’s Eventual – Steven King
  • 1997:  The Partner – John Grisham
  • 1992:  The Pelican Brief – John Grisham
  • 1987:  Fine Things – Danielle Steel
  • 1982:  The Parsifal Mosaic – Robert Ludlum
  • 1977:  Trinity – Leon Uris

Guess what? Readers chose maverick heroes, high stakes and, in most cases, hot sex.

Now, combine that with my recent historical fiction survey. What did 805 readers tell us? They love great stories. When asked about the genre they read or what detracts from historical fiction or their favourite authors – the data and comments point to a desire for great stories. What more maverick heroes with high stakes can you find than Philippa Gregory’s Elizabeth I or Sharon Kay Penman’s Eleanor of Aquitaine or Bernard Cornwell’s Richard Sharpe or Diana Gabaldon’s Jamie Fraser?

In the right proportions, flour, butter and sugar makes mouth-watering shortbread. Food for thought.