I'm so happy and honored to say that my third historical novel, The Masque of a Murderer, officially launches today, April 14!
And while I may not be quite as giddy when my first novel, A Murder at Rosamund's Gate (2013) launched two years ago--because nothing can ever compare to the release of a first novel--I'm still as loopy as I was last year, when From the Charred Remains (2014) entered the world.
Recently, in preparation for the launch, I've been answering a lot of fun and interesting questions about The Masque of a Murderer (the historical background, the story and characters, and my writing process etc). So, I thought I'd do a quick round-up here!
I welcome you to:
Thanks so much for sharing this journey with me!!! And I appreciate all the bloggers and reviewers who hosted me, including those through Amy Bruno's Historical Fiction Virtual Blog Tours!
And I'm always so grateful to the wonderful people at Minotaur, especially Kelley Ragland and Elizabeth Lacks, and my agent David Hale Smith, and of course my wonderful alpha reader, Matt Kelley!!
(and now, I turn my attention back to A DEATH ALONG THE RIVER FLEET, due out April 2016!!!!)
Since my first novel, A Murder at Rosamund’s Gate, was published in 2013, I have gotten many questions about my writing process. “Are you a plotter or a pantser?” is the question I most often get. Back then, I didn’t even know what the question meant. Now I know the questioner wants to know whether I outline my books in elaborate detail before I start writing (plotting), or do I go by the seat of my pants (pantsing), figuring out the plot and details as I go.
I want to say that I’m usually captivated by an opening image—and that’s what my story revolves around. For my first novel, I have a young woman walking innocently up to a man she knows, who then surprises her by sticking a knife in her gut. Who was this woman? Why did she trust this man? And of course, why did he kill her?
(Ironically, the image that inspired A Murder at Rosamund’s Gate never even made it into the final version. I had written it as a prologue, but I worried about starting the story twice. You can check it out here, if you are interested.).
However, I've now learned that some things truly need to be figured out before I start writing the book. As I start my fourth Lucy Campion novel, I thought I'd try to share something of my process of thinking through the plot. I have my opening image, and--for now--a one paragraph description of the plot:
When the niece of one of Master Hargrave’s high-ranking friends is found on London Bridge, huddled near a pool of blood, traumatized and unable to speak, Lucy Campion, printer’s apprentice, is enlisted to serve temporarily as the young woman’s companion. As she recovers over the month of April 1667, the woman begins—with Lucy’s help—to reconstruct a terrible event that occurred on the bridge. When the woman is attacked while in her care, Lucy becomes unwillingly privy to a plot with far-reaching political implications.
So I have my opening image, but now I have to start thinking through all the big questions. Initially, I seem to do this as a reader. Who is this woman? What happened to her? What was this terrible event? Was it something that she witnessed, or is she physically injured. Whose blood is it? Why is she on London Bridge alone?
Then I will start the hard part--thinking through these questions as a writer. I've definitely learned that I need to figure out who the antagonist is from the outset. My natural tendency is to reveal the story to myself (pantsing), probably because I'm naturally more interested in how terrible events affect a community, not why people do terrible things.
However, that approach usually means I don't know whodunnit, and that's a challenge for a mystery writer! I usually have to do a lot of backtracking and rethinking motivations and actions, when I have not worked out who the killer is upfront.
So then, my next set of questions will be plot-related. What is this terrible event that occurred? Why did it happen? Who caused it to happen? How did this young noblewoman get involved in such a thing? And--sadly enough--I need to figure out if the London Bridge will work as a backdrop. I know it got burnt in the Great Fire, but I'm not sure yet how feasible it is that she ends up there.
Then, because Lucy needs to be brought in, I need to figure out what makes this so urgent. Will this woman be attacked under Lucy's care? Probably. Why? What does she know? What are the larger implications of this crime.
So, over the next week or so, I will brainstorm these big questions, and from there--voila!--a plot of sorts will emerge for me. I will figure out anchor points, motivations, and subplots from there. Then I will start writing. Every time I hit a roadblock, I will just start the questioning process again, until I figure out the direction I need to take to move forward. So I will call my approach, Plot-Pantsing.
What about you? If you are a writer, what approach do you prefer? As a reader, do you think you can tell which approach a writer took?
A few months ago I had the fun of being interviewed by Sharon P. Lynn for In-Print Radio at the Barnes and Noble in Rockford Illinois.
One of my favorite parts was when these teenagers started cursing about the prices on the items behind us. Yes. While we were recording. I think they had to edit out a LOT!
However, in this clip, I am reading an excerpt from A Murder at Rosamund's Gate. My part begins at 10:45-14:40. I'm pretty sure someone was killed somewhere in here. Check it out!
Life has been crazy, crazy, CRAZY busy...I've barely had any time to post. Work is, well, busy, on top of that I just finished up teaching two classes and now I'm prepping for the next quarter, and I'm still working away on Book 3--The Masque of a Murderer--due to my editor very soon.
All the while I'm trying to gear up for the launch of Book 2--From the Charred Remains--which will be released on April 22. Yikes and a half!
But it's fun to take time out to celebrate the different writing milestones. Today my first novel, A Murder at Rosamund's Gate, came out in paperback. I even signed a few copies, just for fun!
In seventeenth-century England, the role of servants was far more nuanced and flexible than readers today may realize.
Certainly, there was a long-standing patriarchal expectation that the head of a family would maintain a godly and dutiful order over his household.
In advice manuals, published letters and sermons, men were repeatedly admonished on how to treat the servants living in their homes. Men were expected to provide food, shelter, religious instruction, and a disciplined hand, much as they were expected to treat their own children and wives. They were not supposed to treat their servants as slaves; indeed, quite the opposite.
However, we must always consider the tensions between prescription and practice. Just because the expectations were stated, most certainly does not mean that the expectations were met.
For example, in Advice of a father, or, Counsel to a child (1664), men were admonished to:Anon. (1664). Advice of a father
For this reason, as the last injunction suggests, discretion was particularly important (perhaps because it was not always be realized). The Early English Books are full of tales of servants blackmailing their employers, because they had discovered something the master (or mistress!) would rather have kept hidden (e.g. adultery, gambling debts, infanticide etc).
Thus, the same advice manual warns:
This last point suggests that even the lowest servant in his employ should be treated as all the other servants were treated.While the master was expected to rule with a firm hand, he was more like a benevolent monarch than a tyrant:
There's a pragmatic realization here that seems to transcend the ages. If you work someone without letting them "blow off steam," then you run the risk of having unmotivated, even hostile or violent, servants in your household. This holds with the reality of homicide trends in the 17th century: Far more servants killed their masters, than masters killed their servants!
This injunction also fits in with the many accounts across the Early English books of servants getting some days off, attending the theatres and fairs, going to market, visiting family, even sharing in merriments with the family. While the author of this piece would mostly likely call for moderation, it's clear that masters did give their servants more freedoms than might be assumed.
I want to point out one other piece of advice offered in this manual:
"Reckon thy servants among thy children; the difference is only in degrees; both make up the economy; thou art the father of the family; a wife servant is better than a foolish child; cast him not off in an old age, when he has spent himself in thy service; a faithful servant does well deserve to be counted among thy friends."
There was, without a doubt, a recognition that loyal servants could become more like members of the family over time. In this particular injunction, the master is told not to throw out his servants just because they have become old, but rather to take care of them. The best example I can think of, to help illustrate how a servant could become like a family member over time, is to draw on a 1960s reference: Would the Brady Bunch have thrown out Alice?
In my recent novel, A Murder at Rosamund's Gate, I touch on a lot of these issues. I deliberately placed my protagonist Lucy Campion, in the household of a magistrate, at a time when Enlightened principles were starting to emerge in England. In my story, I deliberately juxtapose the reasoned household of the magistrate, with the less disciplined households that surrounded them. I wanted my magistrate then to be a more Enlightened thinker, more concerned with ideas, than the person who suggested those ideas to him. So he could have listened to and believed in the views of a servant with an intelligent lively mind.
Perhaps I gave Lucy too many freedoms, perhaps I didn't.
Ultimately, I do not think there is any blanket, all-encompassing way to look at the relationship between masters and servants in 17th century England. Arguably, these attitudes may have changed in the 18th and 19th century (although I doubt there was a monolithic understanding of this relationship even then), but the bottom line is this: The relationship between master and servant in the 17th century was far more nuanced and flexible than is often assumed.
This is my story, and I'm sticking to it!
My book started years ago, when I was a graduate student, pouring over 17th century murder ballads. The ballads served as musical 'true accounts' of murderers who wrote letters to their victims, urging them to rendezvous in dark deserted fields. I knew I had to write about these monsters. I drank lots of coffee.
I spent years writing this first book, scene by scene, in little half hour bursts, at coffee shops, on the train, when the kids were sleeping, until one day--in 2010-- I finished.
Even my husband--alpha reader extraordinaire--did not know much about the story. "It's set in the seventeenth century," I'd mumble. "A servant gets killed. Another servant tries to figure it out. Stuff like that."
But eventually, I asked him and a few other trusted friends to read the book. I revised again, queried, queried, queried, while writing an entirely different book in the interim. In 2011, I got my wonderful agent who quickly connected me to my equally wonderful editor at Minotaur.
My journey was no longer an imaginary jaunt; the path to publication was suddenly very real.
In 2012, more changes happened. The title of my book got changed. My publication date got pushed back. My beautiful cover was revealed. Multiple revisions happened. Copy edits made me crazy, but I learned a lot in the process. I had my first public appearance as a novelist ("2 minutes at Bouchercon"). At some point, I received my ARCs.
2013. Months still passed. My book began to be publicized. I reached the 100 Day mark. Another few months passed. My book started to be reviewed. My hardback copy came in the mail. And now...Be still my heart...
MY BOOK IS FINALLY HERE!!!!
Thanks to all my colleagues, friends and family--especially my husband--who made this possible!!!!
Date: 1688 Reel position: Wing / 853:61
Fans of Sherlock Holmes may be intrigued to know that the first known female sleuth in England was Anne Kidderminster (nee Holmes), a seventeenth-century widow who tracked down and brought her husband’s murderer to justice thirteen years after the crime.
To find out more, check out my guest blog over on Criminal Element, found under the excerpt of A Murder at Rosamund's Gate.
I'm still on a hiatus from this blog for a little while longer...but I've been having fun writing guest posts and doing interviews for other blogs, webzines and even my local paper.
To see what I've been writing about, please check out my virtual tour.
Also, I received the official HARD COPY of A Murder at Rosamund's Gate yesterday in the mail!!!! That's about as exciting as it gets!!!
Oh, and my book was selected as a Barnes & Noble Booksellers' Pick for April! What an honor...I'm thrilled!
Just a hundred days left until A Murder at Rosamund's Gate is released on April 23, 2013!!!
Now, I know you might well be thinking: "Um, didn't your book come out, like, a year ago? You've been talking about it for ages."
Nope. The book has just been gestating, percolating, spinning, whirling, stirring for the last eighteen months. What can I say? Publishing is a mysterious business.
A hundred days! A hundred days!
Historically, the Hundred Day mark has been a crucial signifier:
Okay, so the last 100 days before my book gets published is not quite so significant in comparison. And I'm pretty sure that the journey won't be a "do or die" march towards triumph or defeat a la Napoleon or FDR.
But given that I've been waiting my whole life for this moment... JUST A HUNDRED DAYS TO GO is an awfully exciting concept!!!
the codes in the fire poems...
There's been sort of a funny game of tag going among writers recently, called "The Next Big Thing." So crime fiction writer Holly West was kind enough to tag me, which means it's my turn to answer some writerly questions and tag some other writers.
1) What is the working title of your next book?
After A Murder at Rosamund's Gate releases April 23, 2013 (sigh, yes, I'm still awaiting this great moment), my next book featuring Lucy Campion is From the Charred Remains. That's still my working title at the moment, although I will probably change it when the book gets closer to publication (in 2014).
2) Where did the idea come from?
FTCR continues two weeks after A Murder at Rosamund's Gate leaves off; that is, directly after the Great Fire of London in 1666. So many people, including Lucy, were pressed into service to assist in the great clean-up after the Fire. I thought for sure secrets would have to emerge from charred remains. Of course, plucky Lucy has to be the one to encounter an intriguing puzzle....
3) What genre does your book fall under?
FTCR is a mystery, and within that historical fiction and traditional. I'm not quite sure if readers at Danna's awesome cozy mystery blog would call it a cozy or not, but like Anne Perry's books, it has elements of a cozy.
4) What actors would you choose to play the part of your characters in a movie rendition?
I don't want to give away my thinking completely (since I prefer readers to imagine characters for themselves) but I wouldn't be adverse to the compelling Michael Kitchen (Foyle's War) portraying my kindly magistrate.
5) What is the one-sentence synopsis of your book?
Ack! The dreaded one-sentence synopsis. Torture to the writer! Here goes...
Lucy Campion, a chambermaid turned printer's apprentice, discovers in the aftermath of the Great Fire the body of a murdered man; on his corpse, she finds a poem which she publishes, little realizing that this act would bring her once again into direct confrontation with a murderer.
6) Will your book be self-published or represented by an agency?
I am represented by the amazing David Hale Smith of Inkwell Management. Both books will be released by Minotaur Books (St. Martin's Press).
7) How long did it take you to write the first draft?
Given that A Murder at Rosamund's Gate took me about ten years to write (seriously!) I'm amazed to say that I wrote FTCR in just a few months.
8. What other books would you compare this story to within your genre?
I've been inspired by both Anne Perry and Rhys Bowen.
9) Who or what inspired you to write this book?
I've been inspired to write these stories ever since I was a doctoral student of history. My husband and kids inspire me every day to keep pursuing my dream...
10) What else about the book might pique the reader's interest?
If you like puzzles and codes, this one is for you...
Historian. Mystery writer. Researcher. Teacher. Occasional blogger.