Love the middle ages? The Cymry (Welsh) people? Battle? Reluctant heroes? Spunky heroines? Dastardly Vikings? Twuue Luurve?
If you love any of these things, you may want to check out a book...
PEACEWEAVER releases this Friday (yes! this Friday!) from Desert Breeze Publishing (www.desertbreezepublishing.com). Get ye there and check out the cover awesomeness.
Seriously, I love this story as it came together. It was a joy to write. I hope my readers will enjoy it, too.
Showing posts with label historical fiction. Show all posts
Showing posts with label historical fiction. Show all posts
Tuesday, September 18, 2012
Thursday, December 16, 2010
Potato Hatred
Great phrase, no? A shortcut for those of us who love historical fiction and hate the errors that some authors can let into the story.
Example: the medieval lord and his fair lady sitting down in 1253 to a hearty dinner of good old English roast beef with a side of potatoes and gravy.
Gravy I might buy. But the potato, along with a dozen other vegetables and fruits, is a New World import that didn't exist in Europe in 1253.
Ditto the tomato. And corn (American sweet corn, a.k.a. maize). The historical English, if they refer to corn, mean any grain product, particularly wheat. So if you're reading about a 15th century "corn merchant", don't think you've encountered a moment of Potato Hatred -- think wheat merchant instead.
Why do authors do this? I can't speculate on every possible reason, but among them must be haste; laziness; ignorance; and/or bad editing that "corrected" a reference to a veg that was correct for olden times to one more easily recognized by a modern readership.
But I feel as though Potato Hatred can cover almost any anachronism in fiction. My criterion: if it yanks you out of the book, has you scratching your head and thinking, "Whaaa--?" it's a candidate for Potato Hatred.
Thoughts?
Example: the medieval lord and his fair lady sitting down in 1253 to a hearty dinner of good old English roast beef with a side of potatoes and gravy.
Gravy I might buy. But the potato, along with a dozen other vegetables and fruits, is a New World import that didn't exist in Europe in 1253.
Ditto the tomato. And corn (American sweet corn, a.k.a. maize). The historical English, if they refer to corn, mean any grain product, particularly wheat. So if you're reading about a 15th century "corn merchant", don't think you've encountered a moment of Potato Hatred -- think wheat merchant instead.
Why do authors do this? I can't speculate on every possible reason, but among them must be haste; laziness; ignorance; and/or bad editing that "corrected" a reference to a veg that was correct for olden times to one more easily recognized by a modern readership.
But I feel as though Potato Hatred can cover almost any anachronism in fiction. My criterion: if it yanks you out of the book, has you scratching your head and thinking, "Whaaa--?" it's a candidate for Potato Hatred.
Thoughts?
Wednesday, November 10, 2010
Get Thee to a Wall
That is, THE MASTER'S WALL. It's a book just coming out through DeWard Publishing, by Sandi Rog. I read and enjoyed it. It's well worth your time and your teenager's, since the main characters are much younger than "adults" in the present age.
Set in Roman times, it tells the story of David, a Messianic Jewish boy who's sold into slavery to a wealthy Roman villa-owner. It tells the story of Alethea, a Greek girl who doesn't understand much about what's going on around her, and is determined on her own way...
Grab this book. Watch this pair clash--and clash--
Background data. Sandi is an ACFW pal, historical-writing pal, and conqueror of MS, which has laid her low several times since I first met her. Currently, though, she's battling lymphoma in the brain, and is undergoing therapy. Her publisher, DeWard, is donating $1 of every sale of this book as a benefit/fund-raiser for Sandi.
That's over and above what many publishers would do. Our part is to go buy this book. I plan to score several more copies.
Join me.
Set in Roman times, it tells the story of David, a Messianic Jewish boy who's sold into slavery to a wealthy Roman villa-owner. It tells the story of Alethea, a Greek girl who doesn't understand much about what's going on around her, and is determined on her own way...
Grab this book. Watch this pair clash--and clash--
Background data. Sandi is an ACFW pal, historical-writing pal, and conqueror of MS, which has laid her low several times since I first met her. Currently, though, she's battling lymphoma in the brain, and is undergoing therapy. Her publisher, DeWard, is donating $1 of every sale of this book as a benefit/fund-raiser for Sandi.
That's over and above what many publishers would do. Our part is to go buy this book. I plan to score several more copies.
Join me.
Sunday, June 27, 2010
Linda Windsor's HEALER
Micro-review follows: HEALER is a terrific story that takes the reader into a poorly illuminated and endlessly interesting period of the past. And no, I do not call them the "Dark Ages" anymore. These were the centuries when a small band of committed Christians copied the Gospels out by candlelight and daylight, to make sure we would have the wondrous Word we enjoy so freely today.
Linda graciously consented to answer a few questions: here they are, so enjoy!
1.) Tell us about your book HEALER. What led you to this particular historical era and setting?
HEALER is a book of my heart that has been percolating in my mind for over ten years, morphing from a former sexy historical into a moving inspirational saga set in Arthurian Scotland. My Celtic Irish series, "Fires of Gleannmara" kicked off my interest in Dark Age history and early Christianity in the British Isles. Many of you know how MAIRE, RIONA and DEIRDRE’s research helped me to reach my daughter after she’d been stalked and assaulted in college, turned against God and to Wicca-white witchcraft. We as Christians could learn a lot from how our first through third century forefathers tamed barbarian Europe when Rome’s might could not. It was that approach that I used when speaking to my daughter, using history and tradition to reach her when she’d not listen to Scripture. It was a process that took five or so years, but then so did the early Christian witness take time to take root and grow.
HEALER is book one of the Brides of Alba trilogy, Alba being an early name for Scotland. And this is Arthurian Scotland—and King Arthur, for that matter—as never seen before. The series focuses on three brothers, their respective brides, and how love and faith grow to enable them to survive those trying times of the Saxon invasion and the church's desperate measures to ensure the survival of Christianity. These measures include matchmaking men and women from the Davidic bloodline passed on by royal Irish and the apostolic bloodlines established in Britain by the first century family and followers of Christ.
The historic Arthur in HEALER, one of at least two arthurs (a title) and definitely the last one, is a product of such matchmaking. So is the merlin (another title) Merlin Emrys, who in this case is a documented Celtic Christian bishop and druidic scientist. In fact most of the Arthurian figures were bred and raised by the Grail Church to become warriors, kings and queens of Britain to ensure the Grail Church's survival. Brenna and Ronan's conflict is a result of that matchmaking gone wrong.
Forced to live most of her twenty years in hiding from both her own clan and the clan who murdered her family, Brenna of Gowrys wonders how she can possibly fulfill her mother’s prophecy that their family's seed will divide the enemy O’Byrne’s house and bring about a peace beyond his wicked ken. Brenna’s clan remnant would have her lead them to certain death against the stronger O’Byrnes. But Brenna is a healer, not a warrior. Nor is she the shape-changing wolf-woman of the hills she’s rumored to be by the superstitious clans; although she does have a gift with wild animals, including her pet wolf Faol.
So when Brenna witnesses the ambush and attempted murder of a warrior during the annual O’Byrne hunt to find the wolf-woman, she does what she’s called to do. She brings him into her mountain hideaway to heal him, even if he could be her enemy. All she knows is that he is not just wounded in body, but in spirit; that he’d been there as a frightened child when her family had been slain; and that she has seen a future with him. But is her faith strong enough to follow the vision, no matter where it leads?
2. What's your favorite part of the story?
I can’t say I have a favorite part, but I do have a favorite theme that ties in to teaching Christians a bit about Dark Age “magic” or proto-science versus and dark magic. Unfortunately some reviewers are already calling my heroine a witch. And in truth, I expected some controversy, even though I have Scripturally backed up the concepts and provided resources.
Brenna had been taught the proto-science of nature magic, which was knowledge of herbal remedies and of the electro-magnetic neurological circuits in our bodies used in in today’s chiropractic and acupuncture. The existence and efficacy of these is accepted even in the western world, although we’ve yet to find a way to quantify them.
To the common mind this was magic. Even someone who was charismatic and spoke with eloquent persuasion was considered practicing magic. In fact, our learned professionals of today (doctors, lawyers, teachers, judges, etc.) would have been dubbed magicians. She also invoked the power of the Holy Spirit as the apostles did, but gave all credit of healing to God. And she made it clear to others that healing from using herbs and nature magic was not usually a permanent cure. Only healing by the Holy Spirit was complete.
I list my research sources (great book called From Magic to Science, for one) showing that this nature magic was proto-science of the day and I contrast the use of that knowledge by my devout Christian heroine (who is also accused of been too good) by showing how that same knowledge can be misused for evil. Like arsenic. It’s used to kill cancer cells to save lives. It’s also used to murder people. And lastly, I differentiate between nature magic/proto science with dark magic, which involves the aid of spirits or demons. Readers, and my skeptical hero, will see a desperate battle against this type of magic with the triumphal power of the Holy Spirit.
Like I said. Controversial. Food for thought, but wholly intended to glorify how wonderfully made we are and what wonderful gifts we have at hand in creation, all from the Creator God and all to His glory, not that of the practitioner.
3.) What was the hardest part to write?
Differentiating between the two types of magic and showing that much medieval magic was no magic at all, but knowledge of God’s creation—His gift to us to use for good. Making it clear through Brenna’s profession that only God’s healing was complete. She didn’t heal like Jesus did, as one reviewer complained, and she never claimed to. That would be blasphemy to her.
I also gave Brenna the gift of visions, fully Scriptural based. They come at God’s will, not hers, and they prompt her to act against reason and on faith. She becomes dismayed when people, on hearing of this, come to her seeking their fortunes and turns them away, saying God gives her only what He sees fit, not what she asks for or even seeks, for that matter. She tells them their future is in God’s hands, not in her visions.
I prayed through and through this book because of broaching these topics. In it, God used Brenna’s willing heart to work His will, against all earthly odds. And she glorified Him for it.
4.) What's one of the oddest or most interesting things someone has ever said about you?
I fear that is to come, if readers don’t understand what I’ve tried to clarify. On a lighter note, my birthday is marked on the calendar of great historical moments as the day the Liberty Bell cracked. Now I don’t believe in omens, but hey…
5.) Can you tell us a little about the ups and downs on your journey to publication?
How about AFTER publication? It’s been like riding a carousel from my first book in 1999—HI HONEY I’M HOME—to HEALER. I joke that I will someday do a keynote speech title I Failed My Way To Success. Because I’ve been so wordy here, readers might want check out
http://www.lynnettebonner.blogspot.com on July 19th, where I tell the whole sordid ride from rescuing my first manuscript from the garbage, mistakes I made, and how God always took me from one failure or closed door, to a better place…every time. I hope it doesn’t overload her web space. Oh, and it’s has humor as well. The Liberty Bell isn’t the only thing a little cracked.
6.) What writing challenge do you find hardest, and how did you overcome it?
Writing with chemical depression is my best asset and worst enemy. Feelings give me a special insight into life and faith’s conflicts, lending power and inspiration to my stories. But they also discourage me when I am in that dark place. I stall and can’t think how to move on. And I have learned that every time I wait on the Lord, stick to Him like glue, rest, and read the Psalms. Misery loves company, especially company that always reminds me that no matter how low I go, God has never let me or the psalmist down. So while feelings can be great, they can not be trusted and they are temporal. God can be trusted to be there, even when it feels like one’s praying to the ceiling and He is eternal. God and my sense of humor (the cracked psyche) is my salvation in life and writing. He’s plotting the second half of THIEF right now and making me rest after a three-week headache/sinusitis/bronchitis bout. I’m a month behind my schedule, but He won’t let me move ahead until I’m well and ready for whatever is going to happen. All I know is that what I had plotted will not work now. And I have to wait on His time.
Great advice for anyone involved in projects, not just writers...
7.) What advice would you have for a new fiction writer?
I’ve failed my way to twenty-nine books. Get used to rejection and accept that the work wasn’t ready yet according to God’s time. I’ve had the same books rejected one year, published the next without a word changed. God’s timing. My books that grew dusty under the bed and in the attic have always had their day. Every one I’ve ever written has been published. I may have had to revise them or completely rewrite them, but the ideas were good. My craft and timing? Not so much.
Do everything you can to send out your best work and be ready to accept that God may have other ideas. Learn from your rejections if you can, even if it’s only to wait on God. Don’t stop writing. By the process itself, your work improves. I shudder to go back and read some of my first books. The stories were great, but I can’t believe how the craft itself has evolved into tighter, stronger work.
I’ve said this many times. Rejections are like footprints in the sand. If you don’t see any, you are not moving toward your dream.
8.) You’ve had many books published. Which was the “book of your heart” and why?
Before HEALER, I would have said MAIRE. MAIRE introduced me to the Dark Ages and early Christianity. That research helped me reach my daughter, plant the seeds of God’s glory and the idea to worship the Creator, not creation. God watered them until they filled the black void left by her pain and anger from her assault with the light of Christ.
The knowledge I gained of my own faith and of druidism—the root of most New Age philosophy (and old age), has filled me with a passion to inform others how to witness to their lost loved ones, especially those involved in New Age theories. I use history and science and build on what our beliefs have in common, just as the early Christians did. And I extend the grace to them to hear what they believe, without judging. In doing so, I pray they will see something of Christ in me, hear my historical and personal reasons for believing in Him. The rest is up to God. This has become my passion because of the heartbreak my daughter (and I) went through so many years ago. Most of those we are trying to reach have gone through similar heartache and been hurt horribly by an uninformed and judgmental church. Or they perceive their pain as such.
9.) Where can readers get in touch with you?
Please stop by my website at www.LindaWindsor.com and check out HEALER and sign up for my contest to give away a signed copy. Email me at Linda@LindaWindsor.com. I’d love a book report on HEALER!
Also you must see the gorgeous book trailer David C. Cook did on You Tube at http://www.youtube.com/watch?v=F4jSufmR4us&feature=channel. It’s my first book trailer and I am over the moon with it and the cover. It so captures the essence of HEALER. Plus, the heroine on the cover looks like my new daughter-in-law. I received the proof as I was on my way to my son’s wedding rehearsal and everyone was blown away by the resemblance.
Thanks, Linda, for the insight into HEALER and your own journey!
Linda graciously consented to answer a few questions: here they are, so enjoy!
1.) Tell us about your book HEALER. What led you to this particular historical era and setting?
HEALER is a book of my heart that has been percolating in my mind for over ten years, morphing from a former sexy historical into a moving inspirational saga set in Arthurian Scotland. My Celtic Irish series, "Fires of Gleannmara" kicked off my interest in Dark Age history and early Christianity in the British Isles. Many of you know how MAIRE, RIONA and DEIRDRE’s research helped me to reach my daughter after she’d been stalked and assaulted in college, turned against God and to Wicca-white witchcraft. We as Christians could learn a lot from how our first through third century forefathers tamed barbarian Europe when Rome’s might could not. It was that approach that I used when speaking to my daughter, using history and tradition to reach her when she’d not listen to Scripture. It was a process that took five or so years, but then so did the early Christian witness take time to take root and grow.
HEALER is book one of the Brides of Alba trilogy, Alba being an early name for Scotland. And this is Arthurian Scotland—and King Arthur, for that matter—as never seen before. The series focuses on three brothers, their respective brides, and how love and faith grow to enable them to survive those trying times of the Saxon invasion and the church's desperate measures to ensure the survival of Christianity. These measures include matchmaking men and women from the Davidic bloodline passed on by royal Irish and the apostolic bloodlines established in Britain by the first century family and followers of Christ.
The historic Arthur in HEALER, one of at least two arthurs (a title) and definitely the last one, is a product of such matchmaking. So is the merlin (another title) Merlin Emrys, who in this case is a documented Celtic Christian bishop and druidic scientist. In fact most of the Arthurian figures were bred and raised by the Grail Church to become warriors, kings and queens of Britain to ensure the Grail Church's survival. Brenna and Ronan's conflict is a result of that matchmaking gone wrong.
Forced to live most of her twenty years in hiding from both her own clan and the clan who murdered her family, Brenna of Gowrys wonders how she can possibly fulfill her mother’s prophecy that their family's seed will divide the enemy O’Byrne’s house and bring about a peace beyond his wicked ken. Brenna’s clan remnant would have her lead them to certain death against the stronger O’Byrnes. But Brenna is a healer, not a warrior. Nor is she the shape-changing wolf-woman of the hills she’s rumored to be by the superstitious clans; although she does have a gift with wild animals, including her pet wolf Faol.
So when Brenna witnesses the ambush and attempted murder of a warrior during the annual O’Byrne hunt to find the wolf-woman, she does what she’s called to do. She brings him into her mountain hideaway to heal him, even if he could be her enemy. All she knows is that he is not just wounded in body, but in spirit; that he’d been there as a frightened child when her family had been slain; and that she has seen a future with him. But is her faith strong enough to follow the vision, no matter where it leads?
2. What's your favorite part of the story?
I can’t say I have a favorite part, but I do have a favorite theme that ties in to teaching Christians a bit about Dark Age “magic” or proto-science versus and dark magic. Unfortunately some reviewers are already calling my heroine a witch. And in truth, I expected some controversy, even though I have Scripturally backed up the concepts and provided resources.
Brenna had been taught the proto-science of nature magic, which was knowledge of herbal remedies and of the electro-magnetic neurological circuits in our bodies used in in today’s chiropractic and acupuncture. The existence and efficacy of these is accepted even in the western world, although we’ve yet to find a way to quantify them.
To the common mind this was magic. Even someone who was charismatic and spoke with eloquent persuasion was considered practicing magic. In fact, our learned professionals of today (doctors, lawyers, teachers, judges, etc.) would have been dubbed magicians. She also invoked the power of the Holy Spirit as the apostles did, but gave all credit of healing to God. And she made it clear to others that healing from using herbs and nature magic was not usually a permanent cure. Only healing by the Holy Spirit was complete.
I list my research sources (great book called From Magic to Science, for one) showing that this nature magic was proto-science of the day and I contrast the use of that knowledge by my devout Christian heroine (who is also accused of been too good) by showing how that same knowledge can be misused for evil. Like arsenic. It’s used to kill cancer cells to save lives. It’s also used to murder people. And lastly, I differentiate between nature magic/proto science with dark magic, which involves the aid of spirits or demons. Readers, and my skeptical hero, will see a desperate battle against this type of magic with the triumphal power of the Holy Spirit.
Like I said. Controversial. Food for thought, but wholly intended to glorify how wonderfully made we are and what wonderful gifts we have at hand in creation, all from the Creator God and all to His glory, not that of the practitioner.
3.) What was the hardest part to write?
Differentiating between the two types of magic and showing that much medieval magic was no magic at all, but knowledge of God’s creation—His gift to us to use for good. Making it clear through Brenna’s profession that only God’s healing was complete. She didn’t heal like Jesus did, as one reviewer complained, and she never claimed to. That would be blasphemy to her.
I also gave Brenna the gift of visions, fully Scriptural based. They come at God’s will, not hers, and they prompt her to act against reason and on faith. She becomes dismayed when people, on hearing of this, come to her seeking their fortunes and turns them away, saying God gives her only what He sees fit, not what she asks for or even seeks, for that matter. She tells them their future is in God’s hands, not in her visions.
I prayed through and through this book because of broaching these topics. In it, God used Brenna’s willing heart to work His will, against all earthly odds. And she glorified Him for it.
4.) What's one of the oddest or most interesting things someone has ever said about you?
I fear that is to come, if readers don’t understand what I’ve tried to clarify. On a lighter note, my birthday is marked on the calendar of great historical moments as the day the Liberty Bell cracked. Now I don’t believe in omens, but hey…
5.) Can you tell us a little about the ups and downs on your journey to publication?
How about AFTER publication? It’s been like riding a carousel from my first book in 1999—HI HONEY I’M HOME—to HEALER. I joke that I will someday do a keynote speech title I Failed My Way To Success. Because I’ve been so wordy here, readers might want check out
http://www.lynnettebonner.blogspot.com on July 19th, where I tell the whole sordid ride from rescuing my first manuscript from the garbage, mistakes I made, and how God always took me from one failure or closed door, to a better place…every time. I hope it doesn’t overload her web space. Oh, and it’s has humor as well. The Liberty Bell isn’t the only thing a little cracked.
6.) What writing challenge do you find hardest, and how did you overcome it?
Writing with chemical depression is my best asset and worst enemy. Feelings give me a special insight into life and faith’s conflicts, lending power and inspiration to my stories. But they also discourage me when I am in that dark place. I stall and can’t think how to move on. And I have learned that every time I wait on the Lord, stick to Him like glue, rest, and read the Psalms. Misery loves company, especially company that always reminds me that no matter how low I go, God has never let me or the psalmist down. So while feelings can be great, they can not be trusted and they are temporal. God can be trusted to be there, even when it feels like one’s praying to the ceiling and He is eternal. God and my sense of humor (the cracked psyche) is my salvation in life and writing. He’s plotting the second half of THIEF right now and making me rest after a three-week headache/sinusitis/bronchitis bout. I’m a month behind my schedule, but He won’t let me move ahead until I’m well and ready for whatever is going to happen. All I know is that what I had plotted will not work now. And I have to wait on His time.
Great advice for anyone involved in projects, not just writers...
7.) What advice would you have for a new fiction writer?
I’ve failed my way to twenty-nine books. Get used to rejection and accept that the work wasn’t ready yet according to God’s time. I’ve had the same books rejected one year, published the next without a word changed. God’s timing. My books that grew dusty under the bed and in the attic have always had their day. Every one I’ve ever written has been published. I may have had to revise them or completely rewrite them, but the ideas were good. My craft and timing? Not so much.
Do everything you can to send out your best work and be ready to accept that God may have other ideas. Learn from your rejections if you can, even if it’s only to wait on God. Don’t stop writing. By the process itself, your work improves. I shudder to go back and read some of my first books. The stories were great, but I can’t believe how the craft itself has evolved into tighter, stronger work.
I’ve said this many times. Rejections are like footprints in the sand. If you don’t see any, you are not moving toward your dream.
8.) You’ve had many books published. Which was the “book of your heart” and why?
Before HEALER, I would have said MAIRE. MAIRE introduced me to the Dark Ages and early Christianity. That research helped me reach my daughter, plant the seeds of God’s glory and the idea to worship the Creator, not creation. God watered them until they filled the black void left by her pain and anger from her assault with the light of Christ.
The knowledge I gained of my own faith and of druidism—the root of most New Age philosophy (and old age), has filled me with a passion to inform others how to witness to their lost loved ones, especially those involved in New Age theories. I use history and science and build on what our beliefs have in common, just as the early Christians did. And I extend the grace to them to hear what they believe, without judging. In doing so, I pray they will see something of Christ in me, hear my historical and personal reasons for believing in Him. The rest is up to God. This has become my passion because of the heartbreak my daughter (and I) went through so many years ago. Most of those we are trying to reach have gone through similar heartache and been hurt horribly by an uninformed and judgmental church. Or they perceive their pain as such.
9.) Where can readers get in touch with you?
Please stop by my website at www.LindaWindsor.com and check out HEALER and sign up for my contest to give away a signed copy. Email me at Linda@LindaWindsor.com. I’d love a book report on HEALER!
Also you must see the gorgeous book trailer David C. Cook did on You Tube at http://www.youtube.com/watch?v=F4jSufmR4us&feature=channel. It’s my first book trailer and I am over the moon with it and the cover. It so captures the essence of HEALER. Plus, the heroine on the cover looks like my new daughter-in-law. I received the proof as I was on my way to my son’s wedding rehearsal and everyone was blown away by the resemblance.
Thanks, Linda, for the insight into HEALER and your own journey!
Wednesday, January 20, 2010
Stolen Goods, Part II
Why is this important, you ask? After all, doesn't "every generation/blame the one before"? Isn't it just human nature to get revisionist about history and claim that THEIR age is the one that has sole possession of The Light?
Human nature, maybe. Resistible, definitely. If we counter, at every possible opportunity, the human tendency to dismiss an entire millenium as unenlightened, backward, all those terrible adjectives...I think there is hope to redeem the middle ages as fiction-fodder.
The marketing wunderkinder claim if we want to tell historical tales, they must not be set in the medieval era. Why is this? Because "it doesn't sell." Are they really saying, "we can't feel the love for this era because the characters, no matter how fervently Christian, must be Catholic"?
Horrors! We cannot honor THAT! Didn't we spend decades and buckets of martyrs' blood to get away from all that? Yes, the Reformation was necessary, though I think in places, particularly England, it went way out of hand. It also got out of control because of the aforementioned human nature. "What!" says sin-prone humanity. "Some children are bad? Throw them ALL away!" And from this mindset we get excesses of all horrific kinds.
We who read and write in the Christian market can reject this "throw it all out" mindset. We can refuse to accept the "no medievals" position on the part of the publishers, and write (and request, as readers) books that will be Entirely Unrejectable.
Recent events have shown that some publishers are ready to consider medieval-set fiction. Witness Michelle Griep's superb GALLIMORE and several other titles I have not yet read. I have hope.
Human nature, maybe. Resistible, definitely. If we counter, at every possible opportunity, the human tendency to dismiss an entire millenium as unenlightened, backward, all those terrible adjectives...I think there is hope to redeem the middle ages as fiction-fodder.
The marketing wunderkinder claim if we want to tell historical tales, they must not be set in the medieval era. Why is this? Because "it doesn't sell." Are they really saying, "we can't feel the love for this era because the characters, no matter how fervently Christian, must be Catholic"?
Horrors! We cannot honor THAT! Didn't we spend decades and buckets of martyrs' blood to get away from all that? Yes, the Reformation was necessary, though I think in places, particularly England, it went way out of hand. It also got out of control because of the aforementioned human nature. "What!" says sin-prone humanity. "Some children are bad? Throw them ALL away!" And from this mindset we get excesses of all horrific kinds.
We who read and write in the Christian market can reject this "throw it all out" mindset. We can refuse to accept the "no medievals" position on the part of the publishers, and write (and request, as readers) books that will be Entirely Unrejectable.
Recent events have shown that some publishers are ready to consider medieval-set fiction. Witness Michelle Griep's superb GALLIMORE and several other titles I have not yet read. I have hope.
Tuesday, January 19, 2010
Stolen Goods
In keeping with the "what's in it for YOU" feature of the blog, I offer the following mini-rant and some food for comment/thought.
A few years back I saw in the bookstore William Manchester's A WORLD LIT ONLY BY FIRE. Woot! thought I. A new research/enjoyment tome about the middle ages! So I yanked out the gift card and it was mine.
Surprise. I never finished reading the book (and those of you who know me are aware I ALWAYS finish a good medieval nonfic book). Here's why. It did not deliver on the unspoken promise to be a scholarly, thoughtful look at those centuries we call medieval. Oh, no. Instead it claimed that people in the middle ages "invented nothing" and were shackled to superstition, starvation and stupidity.
Hence the problem listed above: that of Stolen Goods. See, I've been canoodling this for a while, and I propose the following conclusion: the middle ages have been "stolen" from Christians due to the fruitbasket of biases Manchester so ably enunciated.
The medievals did nothing, accomplished nothing, knew less. They were one step up from Saxon/Viking/name your barbarian paganism. Barely Christian, right? After all, they weren't Protestants. Never mind that fervent believers spent almost a thousand years making sure the Gospels and other Writings were not only preserved, but enhanced. They found better source documentation in the Arabic and Greek writings as they came to light. They worked by candlelight in freezing or damp monasteries, hand-copying the Word of God one letter at a time. They dedicated their lives to doing this.
But they aren't worth writing about. They were pre-Reformation, therefore Beyond the Fictional Pale.
I submit otherwise. I find them very worthy of admiration. More so, the more research I do for the medieval fiction I seem stubbornly determined to write. My ancestors survived the Black Death, feudalism, probably slavery. They were admirable people despite they believed in a religious system to which I do not adhere.
Please, readers. Let not this fascinating time period be stolen from us by those who say that only the recent centuries matter.
A few years back I saw in the bookstore William Manchester's A WORLD LIT ONLY BY FIRE. Woot! thought I. A new research/enjoyment tome about the middle ages! So I yanked out the gift card and it was mine.
Surprise. I never finished reading the book (and those of you who know me are aware I ALWAYS finish a good medieval nonfic book). Here's why. It did not deliver on the unspoken promise to be a scholarly, thoughtful look at those centuries we call medieval. Oh, no. Instead it claimed that people in the middle ages "invented nothing" and were shackled to superstition, starvation and stupidity.
Hence the problem listed above: that of Stolen Goods. See, I've been canoodling this for a while, and I propose the following conclusion: the middle ages have been "stolen" from Christians due to the fruitbasket of biases Manchester so ably enunciated.
The medievals did nothing, accomplished nothing, knew less. They were one step up from Saxon/Viking/name your barbarian paganism. Barely Christian, right? After all, they weren't Protestants. Never mind that fervent believers spent almost a thousand years making sure the Gospels and other Writings were not only preserved, but enhanced. They found better source documentation in the Arabic and Greek writings as they came to light. They worked by candlelight in freezing or damp monasteries, hand-copying the Word of God one letter at a time. They dedicated their lives to doing this.
But they aren't worth writing about. They were pre-Reformation, therefore Beyond the Fictional Pale.
I submit otherwise. I find them very worthy of admiration. More so, the more research I do for the medieval fiction I seem stubbornly determined to write. My ancestors survived the Black Death, feudalism, probably slavery. They were admirable people despite they believed in a religious system to which I do not adhere.
Please, readers. Let not this fascinating time period be stolen from us by those who say that only the recent centuries matter.
Sunday, January 03, 2010
A Time for RECKONING
Happy New Year. Hasn't been a great one for us so far, due to family illness and associated challenges. But my husband and kids are healthy and enjoying their school and work vacations.
For my part, work continues on SEASONS OF RECKONING, the planned sequel to SEASONS IN THE MIST. Marcus, the main character, has just been found guilty of murder in a medieval (literally!) trial.
Trouble is--how much do I know about medieval trial procedure? How much do you, my would-be reader, know? Eh?
Realizing I'd written a whole ten pages of trial-fiction without actually knowing one iota about what I wrote. Aargh! This can't be good. So I went to the 'Net, which didn't find much, but I found there's a book. I got it on Interloan at the library, and let me tell you, it's tough slogging. Already in page 4 it uses terms I'm supposed to know but have never heard. Maybe I should've gone to law school before writing this one! Eh?
Then a small voice reminds me: "Hey, Kin, it's a ROMANCE. Get as much of it right as you can and don't sweat the rest." Now I want to understand as much as possible but follow this plan.
For my part, work continues on SEASONS OF RECKONING, the planned sequel to SEASONS IN THE MIST. Marcus, the main character, has just been found guilty of murder in a medieval (literally!) trial.
Trouble is--how much do I know about medieval trial procedure? How much do you, my would-be reader, know? Eh?
Realizing I'd written a whole ten pages of trial-fiction without actually knowing one iota about what I wrote. Aargh! This can't be good. So I went to the 'Net, which didn't find much, but I found there's a book. I got it on Interloan at the library, and let me tell you, it's tough slogging. Already in page 4 it uses terms I'm supposed to know but have never heard. Maybe I should've gone to law school before writing this one! Eh?
Then a small voice reminds me: "Hey, Kin, it's a ROMANCE. Get as much of it right as you can and don't sweat the rest." Now I want to understand as much as possible but follow this plan.
Sunday, November 08, 2009
A Change of SEASONS
That's right--SEASONS IN THE MIST, the time-travel romance that's been percolating through the writing/submission/ publishing process for many months, is just about revised and ready to send back to Sheaf House. I finished the substantive work yesterday, so the coming week is for tweaks, polishes and a final re-read.
Why rewrite, do you ask? Good question. The publisher thought the middle was "flat."
So I rewrote. It's the first time I've done such a thing, though I've heard other authors moan about rewrites. I did feel their pain, but since I'd never been asked, it didn't affect ME, now, did it?
God uses such things to keep us humble.
Since that's true, SEASONS has morphed into something a little different. There is now a political subplot to the story, and the tension between Lord Mike the Hunky, Lady Bethany Who Tells Lies, and Hairy-Nosed Git Brother is now ratcheted way, way up.
I think it's a better book now.
Stay tuned. The new, improved version is already available for preorder on Amazon and CBD. It'll be released in April.
Why rewrite, do you ask? Good question. The publisher thought the middle was "flat."
So I rewrote. It's the first time I've done such a thing, though I've heard other authors moan about rewrites. I did feel their pain, but since I'd never been asked, it didn't affect ME, now, did it?
God uses such things to keep us humble.
Since that's true, SEASONS has morphed into something a little different. There is now a political subplot to the story, and the tension between Lord Mike the Hunky, Lady Bethany Who Tells Lies, and Hairy-Nosed Git Brother is now ratcheted way, way up.
I think it's a better book now.
Stay tuned. The new, improved version is already available for preorder on Amazon and CBD. It'll be released in April.
Sunday, July 26, 2009
DK's Muse, a Fickle Brat
If ever there was one...mine takes the prize.
I got an idea for a new story. Fine, say I, and go open a new Word document to start making story notes. I use MS One-Note when I want virtual 3x5 cards, but when an idea germinates I'm not ready for those yet, so I just scribble down random thoughts.
Good, huh?
Not so fast. My husband is sometimes very good (read: TOO good) at giving me story ideas. I wish he'd warn me when something's brewing in his head, though. It's always timed wrong. Anyway, along comes this same husband and starts talking about an idea for ANOTHER time travel, and this time it's a guy who does the traveling. The character's a medieval re-enactor in this day, and thinks he's cool and competent. But he gets to the middle ages and is VERY surprised at what he sees. The locals are Not Impressed. My main character, though passionate about his re-enactment efforts, is nowhere near as authentic as he thinks he is.
Wham! Scuttle project #1 and start scribbling notes for time travel project #2, which in the process morphs to a time travel piece that's a sequel to SEASONS IN THE MIST.
How in bejabbers did that happen?
Don't ask me why. This muse is a fickle brat and that's for sure. But I'm making character notes and writing furiously now, have it well into chapter 2 in first draft, and by the Rood this thing is humming!
Working title: THE PEDDLER'S PACK. Wish me bonne chance!
I got an idea for a new story. Fine, say I, and go open a new Word document to start making story notes. I use MS One-Note when I want virtual 3x5 cards, but when an idea germinates I'm not ready for those yet, so I just scribble down random thoughts.
Good, huh?
Not so fast. My husband is sometimes very good (read: TOO good) at giving me story ideas. I wish he'd warn me when something's brewing in his head, though. It's always timed wrong. Anyway, along comes this same husband and starts talking about an idea for ANOTHER time travel, and this time it's a guy who does the traveling. The character's a medieval re-enactor in this day, and thinks he's cool and competent. But he gets to the middle ages and is VERY surprised at what he sees. The locals are Not Impressed. My main character, though passionate about his re-enactment efforts, is nowhere near as authentic as he thinks he is.
Wham! Scuttle project #1 and start scribbling notes for time travel project #2, which in the process morphs to a time travel piece that's a sequel to SEASONS IN THE MIST.
How in bejabbers did that happen?
Don't ask me why. This muse is a fickle brat and that's for sure. But I'm making character notes and writing furiously now, have it well into chapter 2 in first draft, and by the Rood this thing is humming!
Working title: THE PEDDLER'S PACK. Wish me bonne chance!
Wednesday, June 24, 2009
Writing What You Know
We've all heard this one, haven't we? "Write what you know about." Good advice in all circumstances, right?
Right?
What happens when what you know about is boring?
I'll shed a little light here. I'm smarting (well, not as badly as earlier on) due to a "no-thanks" from a publisher I hoped would pick up PEACEWEAVER. Its problem was apparently not the writing, or I expect the editor would've mentioned that. The problem was the setting. Nobody is going to read a novel set in Wales in 973.
Um. I would.
Anyway, getting past this a bit--my contemporary novels are "write what I know" as far as setting. Now, I don't live in a sleepy southern town with lots of tradition and "hey, how y'all doin'?" feeling. I live in a suburb of a congested, irritating big city. My burb is where I was raised. It's what I know. I can get around on foot or on my bike, and I know where the best bike routes are, the wet places after it rains, and why you shouldn't trust the forest preserve at night.
But this isn't interesting! I'm wondering now whether my contemporaries are being turned down by larger houses simply because of setting. I've made up my own Illinois small town that I use in two published books, and I love going to DeBrett. For my WIP, it's Shelley, Iowa, which also lives only in my mind, but is modeled on a small town.
But the romantic settings? The small town with a native's feel for how people there live and interact? Those are not mine to offer. I do, of course, have my very own burb...
Right?
What happens when what you know about is boring?
I'll shed a little light here. I'm smarting (well, not as badly as earlier on) due to a "no-thanks" from a publisher I hoped would pick up PEACEWEAVER. Its problem was apparently not the writing, or I expect the editor would've mentioned that. The problem was the setting. Nobody is going to read a novel set in Wales in 973.
Um. I would.
Anyway, getting past this a bit--my contemporary novels are "write what I know" as far as setting. Now, I don't live in a sleepy southern town with lots of tradition and "hey, how y'all doin'?" feeling. I live in a suburb of a congested, irritating big city. My burb is where I was raised. It's what I know. I can get around on foot or on my bike, and I know where the best bike routes are, the wet places after it rains, and why you shouldn't trust the forest preserve at night.
But this isn't interesting! I'm wondering now whether my contemporaries are being turned down by larger houses simply because of setting. I've made up my own Illinois small town that I use in two published books, and I love going to DeBrett. For my WIP, it's Shelley, Iowa, which also lives only in my mind, but is modeled on a small town.
But the romantic settings? The small town with a native's feel for how people there live and interact? Those are not mine to offer. I do, of course, have my very own burb...
Saturday, November 08, 2008
Action, Reaction, Life...Stuff Like That
Doing mini-edit on PEACEWEAVER. There's a natural lull in the action. My main character is trying, with more or less success, to settle into her new life as lady of the manor. I don't want this next section to lose impetus, so, hmm: what next shall I do?
I'm tempted, strongly, to let her have it: WHAM! How about a nice Viking raid (this is 973 England, after all)? Some pillage? Burn down the family holding? Or maybe the action should be part of the internecine warfare between her family and her family-in-law?
In fiction, I'm told that the surest way to prevent a Sagging Middle (a thing to be avoided at all costs) is to throw catastrophe after catastrophe at your main characters. I've resisted doing this 'cause I don't write action/adventure, I write romance. But in this young lady's case, I think a Major Challenge, and her reaction to it, would be compellingly consistent with the way people lived in 973.
As support for my fictional endeavor, I'm reading a nonfic book set around the year 1000, called BLOODFEUD. It deals with a certain late Saxon family-with-political crisis and the charges, countercharges, treachery, and murder that resulted. It's been a really good insight into the instability of life in the early middle ages.
Life was tenuous. They dreaded winter because late winter and early spring were the hungry times. Had they spared enough animals from fall slaughter to provide for the spring increase? Had they slaughtered enough animals, put up enough non-meat foodstuffs to last through the cold, till the next harvest?
They dreaded summer because that was the time for war. From my readings I've decided there were maybe 6 weeks all year that early medieval countryside folk might, maybe, feel safe.
Such is my characters' world.
I'm tempted, strongly, to let her have it: WHAM! How about a nice Viking raid (this is 973 England, after all)? Some pillage? Burn down the family holding? Or maybe the action should be part of the internecine warfare between her family and her family-in-law?
In fiction, I'm told that the surest way to prevent a Sagging Middle (a thing to be avoided at all costs) is to throw catastrophe after catastrophe at your main characters. I've resisted doing this 'cause I don't write action/adventure, I write romance. But in this young lady's case, I think a Major Challenge, and her reaction to it, would be compellingly consistent with the way people lived in 973.
As support for my fictional endeavor, I'm reading a nonfic book set around the year 1000, called BLOODFEUD. It deals with a certain late Saxon family-with-political crisis and the charges, countercharges, treachery, and murder that resulted. It's been a really good insight into the instability of life in the early middle ages.
Life was tenuous. They dreaded winter because late winter and early spring were the hungry times. Had they spared enough animals from fall slaughter to provide for the spring increase? Had they slaughtered enough animals, put up enough non-meat foodstuffs to last through the cold, till the next harvest?
They dreaded summer because that was the time for war. From my readings I've decided there were maybe 6 weeks all year that early medieval countryside folk might, maybe, feel safe.
Such is my characters' world.
Wednesday, May 07, 2008
Where Ya Been So Long?
Been working. Well, that's my excuse, anyway, for not blogging.
It's been an eventful two months since my last entry. I've finished edits on SEASONS IN THE MIST, the medieval time-travel, and started a second medieval romance that doesn't involve time-travel. PEACEWEAVER is going very well. It's set in north Wales in 953, and needless to say, research is a big challenge with this one.
In the interim, also, I've contracted with an awesome agent. Tamela Murray agreed to represent me, and I couldn't be more tickled.
Since I signed with Tamela, another exciting thing happened: an acquisitions editor at a house whose name you'd recognize, contacted me via e-mail. Seems she'd seen excerpts of SEASONS IN THE MIST on Tina Helmuth's THE INK'S NOT DRY critique blog. Though the editor says a time-travel isn't a good fit for their house, she liked my writing style and invited me to send them something!
Will I send them something? You bet your bippy I will. At this writing, Tamela and I are planning what to send them, and whether I concentrate on contemporary romances or historical. Since I have more books finished in contemporary than historical, we've decided on the former.
I reserve the right, however, to morph into a historical writer at any future moment.
So things are perking along, and I have lots of hope for good things to come.
It's been an eventful two months since my last entry. I've finished edits on SEASONS IN THE MIST, the medieval time-travel, and started a second medieval romance that doesn't involve time-travel. PEACEWEAVER is going very well. It's set in north Wales in 953, and needless to say, research is a big challenge with this one.
In the interim, also, I've contracted with an awesome agent. Tamela Murray agreed to represent me, and I couldn't be more tickled.
Since I signed with Tamela, another exciting thing happened: an acquisitions editor at a house whose name you'd recognize, contacted me via e-mail. Seems she'd seen excerpts of SEASONS IN THE MIST on Tina Helmuth's THE INK'S NOT DRY critique blog. Though the editor says a time-travel isn't a good fit for their house, she liked my writing style and invited me to send them something!
Will I send them something? You bet your bippy I will. At this writing, Tamela and I are planning what to send them, and whether I concentrate on contemporary romances or historical. Since I have more books finished in contemporary than historical, we've decided on the former.
I reserve the right, however, to morph into a historical writer at any future moment.
So things are perking along, and I have lots of hope for good things to come.
Wednesday, January 23, 2008
Why Cats Say "Blurt" and Other Mysteries
Cats do say "blurt" not "meow". Robert A. Heinlein says so, and that's good enough for me.
Now--why do I mention this on a writing blog? Because there has been some talk about "old-fashioned" writing on some of the writers' loops. Old-fashioned in this case can mean practically anything--writers who are in their 60s trying to give their 20-something characters authentic voices; Jane Austen's style as opposed to modern; and historical writers attempting to get their characters talking right for their age and still be understandable to a modern audience.
Always, when writing in another era, there will be something lost in translation. My just-finished WIP is a case in point. In the 14th century, the upper classes spoke either middle-English or Norman French. I can't write in either language--it wouldn't communicate. Even if my skills were up to it, it wouldn't work. Writing is, after all, primarily about communicating.
That said, my characters can't sound 21st century. Not having been there in 1353 to hear how folks spoke, the best I can do is an approximation of a 21st century author's guess at medieval usage and speech patterns.
(I refused throughout the book to use 'tis. Just my prejudices coming through. I'd rather throw in an obscure French term, or even Cornish, than use that tired old contraction. To me, it shouts "Hey, this is a piece of historical fiction and I'm too lazy to guess how they REALLY talked, so here's 'tis' to tell you so!")
Now, some folks are not going to like the guesses and choices I've made. That's fine. If they get the gist of the story, I figure I've done 99% of my job. If my cat says "blurt" instead of "meow," I hope you will enjoy my story anyway, and forgive the fact that my choices aren't quite what you would've chosen.
Now--why do I mention this on a writing blog? Because there has been some talk about "old-fashioned" writing on some of the writers' loops. Old-fashioned in this case can mean practically anything--writers who are in their 60s trying to give their 20-something characters authentic voices; Jane Austen's style as opposed to modern; and historical writers attempting to get their characters talking right for their age and still be understandable to a modern audience.
Always, when writing in another era, there will be something lost in translation. My just-finished WIP is a case in point. In the 14th century, the upper classes spoke either middle-English or Norman French. I can't write in either language--it wouldn't communicate. Even if my skills were up to it, it wouldn't work. Writing is, after all, primarily about communicating.
That said, my characters can't sound 21st century. Not having been there in 1353 to hear how folks spoke, the best I can do is an approximation of a 21st century author's guess at medieval usage and speech patterns.
(I refused throughout the book to use 'tis. Just my prejudices coming through. I'd rather throw in an obscure French term, or even Cornish, than use that tired old contraction. To me, it shouts "Hey, this is a piece of historical fiction and I'm too lazy to guess how they REALLY talked, so here's 'tis' to tell you so!")
Now, some folks are not going to like the guesses and choices I've made. That's fine. If they get the gist of the story, I figure I've done 99% of my job. If my cat says "blurt" instead of "meow," I hope you will enjoy my story anyway, and forgive the fact that my choices aren't quite what you would've chosen.
Monday, May 21, 2007
Right Faith, Wrong Trimmings
Rant Warning: the following has some of the characteristics of a diatribe. Discussion, sharing of ideas, or conflict may ensue. You have been warned.
Recently on a lively writing loop, a topic arose about historical fiction. Now, just so we're all on the same page: much of CBA historical fiction consists of the Sweet Prairie Romance with the Bonneted Woman on the Cover. This is a known genre. Do not attempt to argue: it just IS.
Why do all CBA historicals have a woman wearing a bonnet (often a transparent bonnet, so you sort of wonder-what was the point?) on the cover, you ask? Very well, I will attempt to answer this burning question. They are there so innocent readers will know this is fiction set in an Acceptable Era: the 1800s.
The nineteenth century is the only acceptable time for stories to be set because it meets the criteria for acceptable fiction: the characters must be Protestant. Fiction dealing with Puritans, the Revolutionary War period, etc., should not be written. Worse, we should not write about pre-Reformation Christians: these would of necessity be Catholic.
Now, before you run screaming for the door: if you write or read historical fiction, you must to some extent abandon your current-day prejudices. People in the pre-Reformation centuries did not think of themselves as idolators, Papists, hidebound or any other stereotype we sneer at today. They called themselves CHRISTENDOM, and the reason they referred to themselves this way is that they kept Christian writings, Christian learning, Christian tradition alive during centuries when my ancestors were worshiping Odin and eating foul-tasting lutefisk...
Ahem. I digress.
We authors must not attempt to write stories set in these benighted times. Do you ask why? Because we'd be writing about Catholics.
I say no. We'd be writing about Christians. People of their time, like us. Many, many of them loved their Savior and served Him in the way the current day permitted. So do we. Some of them were "surface" believers. Some of us are. Some of them abandoned family, friends, and a normal medieval life in order to spend 100% of their time in prayer and learning. Some of us are blessed to do that, in this age.
Do not tell me not to write of these people because they were not Christians. You're wrong. If you don't want to read my work, that's fine, and your privilege. But don't use this most specious of reasoning to say that historical fiction must deal only with people who think like we Protestants do. Don't you dare forbid me to write of people in earlier eras and shed some light on their most-interesting lives and times.
Who knows, maybe we'll all learn something.
Recently on a lively writing loop, a topic arose about historical fiction. Now, just so we're all on the same page: much of CBA historical fiction consists of the Sweet Prairie Romance with the Bonneted Woman on the Cover. This is a known genre. Do not attempt to argue: it just IS.
Why do all CBA historicals have a woman wearing a bonnet (often a transparent bonnet, so you sort of wonder-what was the point?) on the cover, you ask? Very well, I will attempt to answer this burning question. They are there so innocent readers will know this is fiction set in an Acceptable Era: the 1800s.
The nineteenth century is the only acceptable time for stories to be set because it meets the criteria for acceptable fiction: the characters must be Protestant. Fiction dealing with Puritans, the Revolutionary War period, etc., should not be written. Worse, we should not write about pre-Reformation Christians: these would of necessity be Catholic.
Now, before you run screaming for the door: if you write or read historical fiction, you must to some extent abandon your current-day prejudices. People in the pre-Reformation centuries did not think of themselves as idolators, Papists, hidebound or any other stereotype we sneer at today. They called themselves CHRISTENDOM, and the reason they referred to themselves this way is that they kept Christian writings, Christian learning, Christian tradition alive during centuries when my ancestors were worshiping Odin and eating foul-tasting lutefisk...
Ahem. I digress.
We authors must not attempt to write stories set in these benighted times. Do you ask why? Because we'd be writing about Catholics.
I say no. We'd be writing about Christians. People of their time, like us. Many, many of them loved their Savior and served Him in the way the current day permitted. So do we. Some of them were "surface" believers. Some of us are. Some of them abandoned family, friends, and a normal medieval life in order to spend 100% of their time in prayer and learning. Some of us are blessed to do that, in this age.
Do not tell me not to write of these people because they were not Christians. You're wrong. If you don't want to read my work, that's fine, and your privilege. But don't use this most specious of reasoning to say that historical fiction must deal only with people who think like we Protestants do. Don't you dare forbid me to write of people in earlier eras and shed some light on their most-interesting lives and times.
Who knows, maybe we'll all learn something.
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