July 16, 2014

Deborah Hill's The Heir - Guest Post


Here’s the question: how does the writer wrap the plot around history?

I take it as given that history can't change. Nor am I fond of narrative, which I use very sparingly. My characters, by their actions, have to tell us what is happening. A segment of The House of Kingsley Merrick, the second novel of the Kingsland Series, demonstrates the possibilities and the problems.

The scene is Cape Cod, the era is the beginning of the Civil War. One problem is that nothing happened on Cape Cod that relates to the war, except, of course, for young men volunteering. I struggled on through it 35 years ago, when I first wrote and published these books. This victory, that victory – frankly rather boring, but I didn’t know what else to do, and eventually the war ended, thank goodness.

But now! With the internet at my fingertips, I made a wonderful discovery: THE STONE FLEET.

The Fleet consisted of defunct whaling ships in New Bedford, MA, bought for a song by the government, fitted out with removable plugs and loaded with stones from the fields of local farmers. At a certain date the fleet was to sail for Charleston, the plugs pulled, and the ships sunk in the harbor, blocking it. Well, if not exactly on Cape Cod, New Bedford is close enough.

Was there a possibility that Kingsley could watch the fleet leave? If he could get himself to the top right of the map, sail south-west down past Falmouth, the ships would be sailing right past him.


As it turns out, he boards a schooner hired by old captains, helping the father of his beloved to climb on, along with the beloved herself. (Not an easy feat to arrange, but I persevered.) History was not violated, the action involved the Cape, and my characters were there, witnessing the event while starting to move forward and into their love affair.

In fact, the dithering and delay of the Union army and navy caused the fleet, which was sunk on schedule, to break up in the tides and currents of Charleston Harbor, providing no barrier at all. But this was not my concern! My characters are living in the moment, when everyone believes the fleet’s mission to be viable.

More troubling was the fact that the date of departure from New Bedford was top secret. But I decided that the captains knew someone important (after all, they’d spent their lives at sea and must have been acquainted with naval personnel of one sort or another.) Deep water mariners stick together; surely someone would be willing to humor them.

Someone does. Problem resolved. The story moves on and into the love affair, which we all have been waiting for. And that is, at least, one instance of how the plot can be made to wrap itself around history.

About the book
In the third book of a series chronicling 200 years of an American family’s triumphs and troubles, a young man returns to his roots to reclaim his heritage.
“I married into this family. Its ancestors did interesting things, and since they aren’t my own, I was able turn their story into historical fiction with a lot more freedom anyone related to them could have done.”-Deborah Hill, The Kingsland Series.

Thirty-five years ago, while living in Cape Cod, author Deborah Hill became captivated by the memoirs of her husband’s mariner ancestor and began to research the family’s history. In a pre-Internet world, Hill found herself pouring through old library books and ancient church records, and began to piece together the saga of the fictional Merrick family. The result was The Kingsland Series, a historically accurate, adventure-filled, spicy trilogy, which will conclude with the release of The Heir in March.

The Heir follows Steven Sinclaire, who grows up with the malicious husband whom his mother, Emily Merrick, tricked into marrying her. Steven endures the humiliations this man inflicts on him by escaping into his memories of Kingsland, the Merrick family’s estate on Cape Cod Bay. Refusing to study at Harvard University, as is expected of him, Steven flees to Kingsland where he learns to value the skills and hard work of the countrymen he meets. When he saves enough, he attends the college of his own choice, and then enters the world of corporate America. Years later, after having inherited the Kingsland Estate, he again returns, hoping to find an alternative to his generation’s frantic post-war climb – and a way to restore his own honor and that of his family.

This is the House, the first book in the Kingsland Series, was originally published in 1976 and sold over 700,000 copies. Set on Cape Cod in the years following the American Revolution, it is the story of Molly Deems, a woman who marries Captain Elijah Merrick in order to escape her mother’s shame. The captain is the ancestor of the author’s hus-band, and the story is based on his own memoir, which Hill has also edited and published as Recollections of a Cape Cod Mariner. The second title in the series, The House of Kingsley Merrick, picking up twenty years after the previous novel ended, follows the title character from Cape Cod to Australia and back to Cape Cod, where he seeks retribution for persecutions he endured as a youth. Both books were re-issued two years ago, coinciding with the bicentennial of the War of 1812.


About the author
Deborah Hill graduated from the University of Pennsylvania with a degree in Creative Writing and was an elementary school counselor for many years. She currently lives in Brockton, Massachusetts. The Heir by Deborah Hill (published by North Road Publishing, RRP $17.95, e-book RRP $10.99) is available online at retailers including Amazon.com and all good bookstores. For more information, please visit www.DeborahHillBooks.com.

July 11, 2014

Devil in the Marshalsea - Spotlight and {Giveaway}


About the book
Publication Date: June 10, 2014
Houghton Mifflin Harcourt
Formats: eBook, Paperback

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Thrilling new historical fiction starring a scoundrel with a heart of gold and set in the darkest debtors’ prison in Georgian London, where people fall dead as quickly as they fall in love and no one is as they seem.

It’s 1727. Tom Hawkins is damned if he’s going to follow in his father’s footsteps and become a country parson. Not for him a quiet life of prayer and propriety. His preference is for wine, women, and cards. But there’s a sense of honor there too, and Tom won’t pull family strings to get himself out of debt—not even when faced with the appalling horrors of London’s notorious debtors’ prison: The Marshalsea Gaol.

Within moments of his arrival in the Marshalsea, Hawkins learns there’s a murderer on the loose, a ghost is haunting the gaol, and that he’ll have to scrounge up the money to pay for his food, bed, and drink. He’s quick to accept an offer of free room and board from the mysterious Samuel Fleet—only to find out just hours later that it was Fleet’s last roommate who turned up dead. Tom’s choice is clear: get to the truth of the murder—or be the next to die.

Praise for The Devil in the Marshalsea
“Hodgson…conjures up scenes of Dickensian squalor and marries them to a crackerjack plot, in her impressive first novel…Hodgson makes the stench, as well as the despair, almost palpable, besides expertly dropping fair clues. Fans of Iain Pears and Charles Palliser will hope for a sequel.” –Publishers Weekly (STARRED REVIEW)

“The plot develops almost as many intricate turns as there are passages in the Marshalsea…Hodgson’s plotting is clever…the local color hair-raising.” –Kirkus Reviews

“Satisfyingly twisty debut thriller…so well detailed that one can almost smell the corruption, and the irrepressibly roguish Tom makes a winning hero.” —Booklist

“Historical fiction just doesn’t get any better than this. A riveting, fast-paced story…Magnificent!” —Jeffery Deaver, author of the bestselling The Kill Room and Edge

“Antonia Hodgson’s London of 1727 offers that rare achievement in historical fiction: a time and place suspensefully different from our own, yet real. The Devil in the Marshalsea reminds us at every turn that we ourselves may not have evolved far from its world of debtors and creditors, crime and generosity, appetite and pathos. A damn’d good read.” —Elizabeth Kostova, author of The Historian and The Swan Thieves

“A wonderfully convincing picture of the seamier side of 18th-century life. The narrative whips along. Antonia Hodgson has a real feel for how people thought and spoke at the time—and, God knows, that’s a rare talent.” —Andrew Taylor, author of An Unpardonable Crime and The Four Last Things

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About the author
Antonia Hodgson is the editor in chief of Little, Brown UK. She lives in London and can see the last fragments of the old city wall from her living room. The Devil in the Marshalsea is her first novel.

For more information please visit Antonia Hodgson’s website. You can also find her on Goodreads and Twitter.


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July 10, 2014

Barbara Kyle's The Queen's Exiles - Guest Post and {Giveaway}


HOW FENELLA BECAME A STAR

Readers love series. It's a benign addiction. We get to know the continuing characters so well we can't wait to find out what happens to them in the next book.

What happens can sometimes surprise the author. The surprise for me was Fenella Doorn.

Fenella is the heroine of my new historical thriller, The Queen's Exiles. She's a savvy Scottish-born entrepreneur who salvages ships. This is the sixth book in my Thornleigh Saga which follows a middle-class English family's rise through three tumultuous Tudor reigns.

Fenella played a small but crucial role in The Queen's Gamble, and then I kind of forgot about her. She didn't appear in the next book, Blood Between Queens, but when I was planning the story after that Fenella sneaked up me.

She's a determined, passionate, courageous woman, and rather cheeky—she insisted that I include her in the new story. She reminded me that she had past connections with two exciting men in the series, Adam Thornleigh and Carlos Valverde, which promised some dramatic sparks.

So, I did more than include her in the new book. I made her its star.

That can happen when you write a series—a secondary character can take over. I was glad Fenella did. She offered me an opportunity to create a complex, admirable woman who doesn't fit the ingĂ©nue heroine so common in historical fiction.

She's not a young thing; she's thirty. She's not a pampered lady; she rolls up her sleeves running her business of refitting ships. She's attractive but not a smooth-faced beauty; her cheek is scarred from a brute's attack with a bottle years ago. And she's not a virgin; she was once the mistress of the commander of the Edinburgh garrison (he of the bottle attack).

In other words, Fenella is my kind of woman.

But making her the star of the new book in my series meant some serious recalibrating. How could I fit her into the Thornleigh family? Writing a series opens up a vista of opportunities but also a minefield of traps. I'll share a few with you here.

Creating a Series Bible

Before writing full time I enjoyed a twenty-year acting career, and one of the TV series I did was a daytime drama called High Hopes. Its writers kept a story "bible," a record of the myriad details that had to be consistent from show to show concerning the dozens of characters. It's a wise practice for the writer of a series of novels, too.
My Thornleigh Saga books follow a family for three generations so it's easy to forget facts about a character that were covered three or four books ago. So I keep a "bible" that tracks the characters' ages, occupations, marriages, love affairs, children, ages of their children, homes, character traits, and physical details like color of hair . . . and missing body parts! Richard Thornleigh loses an eye in The Queen's Lady (Book 1) yet in later books I would often start to write things like, "His eyes were drawn to ..." So I keep that "bible" near.

Each Book Must Stand On Its Own

An author can't assume that readers have read the previous books in the series. My agent always reminds me of this when I send him the outline for a new book in the Thornleigh Saga. "Many readers won't know what these characters have already been through," he wisely says.

So each book has to give some background about what's happened to the main characters in the preceding books, enough to fill in new readers. However, it can't lay on so much back story that it bores readers who have followed all the books. Getting the balance right is tricky.

I like the way episodes in a TV series start with a recap: "Previously on Downton Abbey . . . " It refreshes the memory of viewers who've seen the previous episodes, and is just enough to tantalize those who haven't and fill them in. I wish I could have an announcer give a recap at the beginning of my Thornleigh books! The point is, each book in a series has to stand on its own. It must be a complete and satisfying story for any reader.

Consistency Can Yield Rewards

When I had a brute cut Fenella Doorn's cheek in The Queen's Gamble I never expected Fenella to reappear in a future story. Two books later, when I brought her back in The Queen's Exiles, I could not ignore the fact that she would have a sizable scar on her cheek. So I used that scar to enrich her character.

She had been a beauty at eighteen, relying on men to support her, but when her cut face marred her attractiveness she realized that it was now up to her to put bread on the table and clothes on her back. I made her aware, even grateful, that the scar freed her from the bonds of beauty; it made her independent. And she became a successful entrepreneur.

Letting Characters Age

It's hard for readers to believe that a hero can fight off bad guys like a young stud if the decades-long timeline of the books he appears in make him, in fact, a senior citizen. J. K Rowling was smart. She let Harry Potter and his friends grow up.

I've enjoyed letting my characters age. Through six books I've taken Honor Larke from precocious seven-year-old to wise grande dame as Lady Thornleigh. Her step-son Adam Thornleigh's first big role was in The Queen's Captive where he was an impetuous seafaring adventurer, but by the time of The Queen's Exiles Adam has become a mature man, a loyal champion of his friend Queen Elizabeth. He has been through a loveless marriage, adores his two children, and falls hard for Fenella Doorn.

I'm grateful that Fenella insisted I feature her in The Queen's Exiles. (By the way, that's her on the cover.) The book has been out for just a month and already I'm hearing from readers that they love her.

I don't know if Fenella will reappear in a future book or not, but right now she's a star.

About the book
Publication Date: May 27, 2014
Kensington Publishing
Formats: Ebook, Paperback

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Europe is in turmoil. A vengeful faction of exiled English Catholics is plotting to overthrow Queen Elizabeth and install her cousin Mary, Queen of Scots on the throne. And in the Netherlands the streets are red with the blood of those who dare to oppose the brutal Spanish occupation. But amid the unrest, one resourceful young woman has made a lucrative enterprise. Scottish-born Fenella Doorn salvages crippled vessels. It is on one of these ships that she meets wealthy Baron Adam Thornleigh. Secretly drawn to him, Fenella can’t refuse when Adam enlists her to join him in war-torn Brussels to help find his traitorous wife, Frances—and the children she’s taken from him. But Adam and Fenella will put their lives in peril as they attempt to rescue his young ones, defend the Crown, and restore a peace that few can remember. With eloquent and enthralling finesse, Barbara Kyle illuminates one of history’s grimmest chapters. The Queen’s Exiles breathes new life into an extraordinary age when love and freedom could only be won with unmitigated courage.

READ THE FIRST CHAPTER.

Praise for The Queen’s Exiles
“Riveting Tudor drama in the bestselling vein of Philippa Gregory” – USA Today

“A bold and original take on the Tudors that dares to be different. Enjoy the adventure!” – Susanna Kearsley, New York Times bestselling author

“This moving adventure pulses with Shakespearean passions: love and heartbreak, risk and valour, and loyalties challenged in a savage time. Fenella Doorn, savvy and brave, is an unforgettable heroine.” – Antoni Cimolino, Artistic Director of the Stratford Festival

“Brilliant. A page-turner of love and loyalty in treacherous Tudor times. A truly unforgettable adventure.” – Deborah Swift, author of A Divided Inheritance

“A vivid and compelling novel by an author at the very top of her craft.” – Diane Haeger, author of I, Jane

Praise for Barbara Kyle’s Books

“Kyle knows what historical fiction readers crave.” – RT Book Reviews on Blood Between Queens

“A complex and fast-paced plot mixing history with vibrant characters” – Publishers Weekly on The King’s Daughter

“An all-action thriller, bringing to life the passion and perils of the Tudor period.” – Lancashire Evening Post on The King’s Daughter

“Riveting…adventurous…superb!” – The Historical Novels Review on The Queen’s Gamble

“An exciting tale of the intrigue and political manoeuvring in the Tudor court.” – Booklist on The Queen’s Captive

“Boldly strides into Philippa Gregory territory…sweeping, gritty and realistic.” – The Historical Novels Review on The Queen’s Lady



About the Author
Barbara Kyle is the author of the acclaimed, internationally-published Thornleigh Saga novels which follow a middle-class English family’s rise through three tumultuous Tudor reigns:

The Queen’s Exiles
Blood Between Queens
The Queen’s Gamble
The Queen’s Captive
The King’s Daughter
The Queen’s Lady

Barbara was a speaker in 2013 at the world-renowned Stratford Festival with her talk Elizabeth and Mary, Rival Queens and is known for her dynamic workshops for many writers’ organizations and conferences. Before becoming an author Barbara enjoyed a twenty-year acting career in television, film, and stage productions in Canada and the U.S.

For more information visit www.barbarakyle.com. You can also connect with Barbara at Facebook, Twitter, and Goodreads.


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July 03, 2014

Elizabeth Chadwick's The Summer Queen





About the Book
Young Eleanor has a bright future as the heiress to wealthy Aquitaine. But when her beloved father dies, childhood is suddenly over. Forced to marry Prince Louis of France, she barely adjusts before another death catapults them to King and Queen. Leaving everything behind, young Eleanor must face the complex and vivacious French court – and all of its scandals.

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About the Author
Elizabeth Chadwick (UK) is the author of 20 historical novels, including The Greatest Knight, The Scarlet Lion, A Place Beyond Courage, The Outlaw Knight, Shadows and Strongholds, The Winter Mantle, and The Falcons of Montabard, four of which have been shortlisted for the Romantic Novelists’ Awards.

July 01, 2014

Vincent B. “Chip” LoCoco's Tempesta's Dream - Guest Post


A REFLECTION ON OPERA AND SOME WAYS IT HAS CHANGED

My novel, Tempesta’s Dream – A Story of Love, Friendship and Opera, is the inspirational story of a young man who grows up in Milan and aspires to become an opera tenor.

The story is a tribute to the majesty and miracle of opera. For those new to opera, the novel perhaps opens a door that heretofore has not been opened for them. And for those readers who love opera, I would imagine the novel is like visiting with an old friend.

Opera has been around since the 1700s when it was born in Florence. Soon it flourished all over the globe.

In this guest post, I will endeavor to discuss and highlight a few key ways in which opera has changed over the years and the effect those changes have had on the singers, the audience, and on opera itself. There is no particular order given, just some random thoughts on how it has changed.

To start, let’s see how the life of a singer has changed. To do so, let’s look at the career of Enrico Caruso, perhaps the greatest tenor who ever lived.

Caruso, who lived near Florence, would sail to New York in the fall and he would be stationed at the Metropolitan for the entire Met season. He would sing at some other cities while here, but most of his stay was in New York. At the end of the season, he would sail back to Italy where he would rest for the summer, with perhaps a few stops to sing along the way. He was the face of the Metropolitan Opera. That is how it was for singers. For example, Beniamino Gigli, Maria Callas and Giuseppe di Stefano were the faces of La Scala.

A singer today is not tied to one house during an entire season. And that is because of the ease of travel by air. Now a singer jets all across the world, singing with almost no downtime. Does this affect the voice? You bet. So, while air travel has allowed singers opportunities to be heard at many locales, it has also resulted in opera houses not having a singer around all season.

Some further thoughts on air travel. It has brought a singer’s career in direct contact with jet lag, the bane of all singers. As George Shirley, a wonderful tenor at the Met in the 60s and 70s, told me, jet lag is always in the mind of a singer and trying to find ways to cope and perform with it. Is never ending; not to mention the atmospheric changes and pressure changes that affect a singer’s voice while travelling by plane. After all, a stuffy nose for an opera singer can be terrifying.

Another way opera has changed is the impact of social media. A young singer takes the stage at a small theater of 1500 patrons and, in the early part of the career, uses these early opportunities to learn and perfect the art. Are mistakes made? Of course, but they are learning. And if a singer gives a bad performance, only 1500 people saw it. Not today. With YouTube, Twitter, Facebook, that bad performance can be broadcasted all across the globe. This makes it very tough for a singer in his/her galley years, as they are at the infancy of their careers. Of course, the reverse is true as well. Social media also
opens the door for world wide fame and recognition very quickly for a singer.

One big change for opera has been the introduction of supertitles. These are translated words of the opera projected usually above the stage. (At the Met they are on the seat in front of you.) This has made opera very much understandable to many operagoers. Now, an audience member can read along during the opera and understand every word of an opera being sung in a language they may no nothing about. That is a good thing. Yet, supertitles have many critics. Some say it takes the audience members attention away from the stage as they look to read. Singers say it makes it difficult as they will sing a funny phrase, but the laugh only comes after the words are read by the audience. It’s a debate that will always happen. I did see an article last week that in Japan a company is introducing glasses you can wear to the opera and the words scroll across the glasses, so you don’t need to look away from the stage. A very interesting concept and I am curious to see how they are received.

Thanks for the opportunity to reflect on some changes in opera over the years. Opera may change over the years, articles will be written on the demise of opera, but as long as there is love, passion, sadness, and a desire for melody in the world, there will always be a place for opera.

Vincent B. “Chip” LoCoco
Author of Tempesta’s Dream – A Story of Love, Friendship and Opera

About the book
Publication Date: September 26, 2013
Cefalutana Press
Formats: eBook, Paperback

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Tempesta’s Dream is the story of an aspiring opera singer coming of age in Milan; a tender and moving love story; a testament to the bonds of friendship; and, at its core, a tribute to the beauty, majesty and miracle of opera.

Giovanni Tempesta always dreamed of becoming an opera tenor and one day singing from the stage of the La Scala Opera House in his hometown of Milan, Italy. But with no real training, his dream has little chance for fulfillment . . . One day, he meets and immediately falls in love with Isabella Monterone, a dark-haired beauty, whose father, a very rich and powerful Milanese Judge, refuses to allow his daughter to date a penniless musician . . . At the lowest part of his life, Giovanni comes upon the Casa di Riposo, a rest home for musicians established by the great opera composer, Giuseppe Verdi . . . It is at the Casa Verdi that Giovanni meets Alfredo del Monte, a blind, retired opera singer with a secretive past who gradually becomes his mentor . . . Could Alfredo be the one person who could assist Giovanni in finding the break he needs? Or is Giovanni destined to be on the cusp of reaching his life long dream, only to find failure? . . . Tempesta’s Dream, at its core, is an Italian opera love story. The author tells the story simply and swiftly with an ending that is both an emotional and poignant moment of both “amicizia e amore” (friendship and love.)

Praise for Tempesta’s Dream
“The novel has enormous heart and a few times my eyes filled with tears. I was vividly involved with this young tenor, his dreams, and the wonderful old man who taught him. It is not an easy thing to convey the passion for song. However, the way the author did it, I could physically feel the young tenor singing and hear his voice.” -Stephanie Cowell, Author of Marrying Mozart

“The story holds charm and appeal. There is beauty in the depiction of the relationship between Giovanni and Isabella, as well as in the bond between Alfredo and the young tenor. Giovanni, Isabella and Alfredo will remain in ‘memoria mia’ for years to come.” -George Shirley, Tenor, University of Michigan Emeritus Professor of Music (Voice)

“Within a very moving story of romance and friendship, the author has created a realistic portrait of a young singer’s pursuit of an operatic career. This lovely tale allows one to acquire an understanding of and an affection for opera.” -Audrey Schuh Redmann, Soprano

“This novel is a thorough pleasure.” -Christina Vella, Author of Intimate Enemies, The Two Worlds of Baroness de Pontalba

“The story surprised me and involved me. The development of the book was very intriguing and moving.” -Cecilia Gobbi, founder of the Associazione Musicale Tito Gobbi, an organization devoted to preserving and celebrating the record of her famous baritone father’s contribution to opera

“What a story! Quite possibly, the best novel about opera I have ever read. The passion of opera pulsates throughout the entire novel. Highly recommended.” -John Gehl, Opera historian and the only American collaborator on The Oxford Concise Encyclopedia of Opera

“The author’s contagious love of opera and his faith in human decency sing through this loveable page-turner of a story.” -Susan Nicassio, Author of Tosca’s Rome

“An intelligent and entertaining lyrical journey . . . A rare, beautiful story with passion and opera pulsating through each page. LoCoco has woven a unique novel with exceptionally developed characters, realistic dialogue and a well-balanced narrative.” -Penn Book Review

“A Powerful novel . . . Tempesta’s Dream is all about the music, it’s all about the passion; and it’s all about pursuing one’s dream . . .a moving, engrossing story.” – D. Donovan, Ebook Reviewer, MidWest Book Review

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About the Author
Chip LoCoco was born and raised in New Orleans. He is an attorney, with an emphasis on estate planning. A lifelong lover of music, Chip’s passion for opera dates back many years now. He has seen operas all over the world at some of the greatest opera houses. Chip has been asked to give talks on opera as well as the Sicilian-American culture of New Orleans.

Chip’s second novel, Bellafortuna, has been named a Short List Finalist in the William Faulkner Writing Competition. A date for publication has not been set yet for his second novel.

Chip is married to his wife of 15 years, Wendy. They have two children, Matthew and Ellie and a beagle, named Scout. They reside in their beloved city of New Orleans, where if you try to find them on a Sunday in the Fall, they will be somewhere rooting on their Saints.

For more information please visit Chip LoCoco’s website. You can also connect with him on Facebook and follow him on Twitter.


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