Happy 2020!

Hope everything’s going swimmingly for you in the new year! I’ve been quiet for a while, buckling down on my next book — my fourth! — which is currently planned to come out in 2021 from Sourcebooks. The title and cover are still secret for now, but here’s the premise: it’s about 13 women who join an expedition to the Arctic in the 1850s, and what happens when not all of them come back. If you don’t hear from me in the next two weeks, it’s because my immense stack of research reading has finally toppled over and pinned me to the floor.

I’ve got lots of fun plans coming soon, including events for the paperback release of WOMAN 99, a new feature I’m launching on the blog, and other stuff I can’t talk about yet (shhhh.) But stay tuned for lots of activity, announcements, sharing, book recommendations, and more!

Newsletter + giveaway = awesome!

If you don’t already subscribe to Stephanie Dray’s delightful newsletter, April is the time to jump on board! Not just because it’s great, but because she’s also running a giveaway of WOMAN 99 this month.

To enter, subscribe to Stephanie’s newsletter, and see the instructions for entry on this Facebook post.

(This is her April giveaway, so enter now; she’ll have another one for May!)

WomensHistoryReads interview: Juliette Fay

If you love reading about the early days of Hollywood, the behind-the-scenes combination of grit and glamour, you will absolutely love Juliette Fay’s latest, City of Flickering Light, just released today! I was lucky enough to read an early copy and absolutely devoured it. Her book The Tumbling Turner Sisters is one of my favorite takes on vaudeville. Turner fans will enjoy seeing a certain character’s return in this book.

So today seemed like the right day to introduce you to Juliette and her new novel! Fans of Taylor Jenkins Reid’s The Seven Husbands of Evelyn Hugo and Amy Bloom’s Lucky Us will especially love its intelligent, sympathetic take on the constant compromises, surprises and tragedies that accompany the quest for fame.

Welcome, Juliette!

Juliette Fay

Juliette Fay

Greer: What’s the last book that blew you away?

Juliette: I just loved A Well-Behaved Woman by Therese Anne Fowler. It’s about Alva Smith Vanderbilt Belmont who rose from half-starved teenager to be one of the wealthiest and most powerful women in the country. Along the way she aimed her keen mind and can-do personality at social causes like poverty and women's suffrage, and found true love. A fascinating story, carefully researched, and beautifully written.

I went to hear the author speak and she talked about how Alva had always been portrayed as aggressive, demanding, and bossy, and at first Fowler wrote the whole story with that perspective. Then she started thinking about how many men from history could be described in just the same way, but were considered great leaders with big ideas and admirably high standards. Fowler rewrote the entire book with the same angle on Alva. I love that she was able to see through what would have been considered terribly un-well-behaved at the time, to the bright, passionate, shrewd woman whose efforts impacted so many for the better.

Greer: Yes! It was a fabulous book and Fowler speaks about that issue so eloquently. Next question for you: Do you consider yourself a historian?

Juliette: I do not consider myself a historian, and this is the very thing that kept me from writing historical fiction for a long time, despite the fact that I love to read it. I kept thinking, “Don’t you have to have some sort of degree, or at least to have paid a little more attention in history class than I did?”

 Then I was between book ideas for a couple of months in 2013, which was really freaking me out, and I suddenly remembered that my great grandfather had been in vaudeville, and wouldn’t it be great to write a novel about that! It gave me the inspiration and courage to start researching. After a couple of months, when I felt I had a solid command of the facts I was able to start writing the story.

So while I’m still not a historian, I found I really love learning all this crazy stuff, whether it’s historical facts, medical conditions, fashion, food, politics, language and jargon, old jokes to pepper the dialogue of my Jewish comedians in the book about vaudeville (The Tumbling Turner Sisters), or crazy stunts to give my silent film actors in my latest book, City of Flickering Light. And because I’m still a little insecure about it, I’m fanatical about getting the facts right. 

Greer: Your dedication shows! You’re so good at working those details in. Last question: What book, movie or TV show would your readers probably be surprised to find out you love?

Juliette: I’m a huge fan of historical shows, of course—The Crown, The Marvelous Mrs. Maisel, Victoria, Poldark. I also love shows with interesting structures, like This Is Us, where the timeframe is bouncing all over the place. 

But my guilty pleasure is Roswell, New Mexico. There, I’ve said it. 

If you believe the conspiracy theories, Roswell, NM is the site of a crashed alien ship and a vast government cover-up. The show is based on the premise that three little alien kids emerged from that crash with no knowledge of where they came from and what they’re capable of. Now in their late twenties, they’re still desperately trying to pass as humans so the government won’t spirit them away and do experiments on them. 

I think what I like about it is that it’s just pure emotion. Of course, they’ve each fallen in love with humans, which is complicated—there’s a whole Romeo-and-Juliet thing going on with “us” and “them.” It’s all angst and heartache and unexpected couplings. You have to suspend disbelief hard and just go with it. No real nutritional value, but who doesn’t love a hot fudge sundae once in a while!

Greer: Reciprocal confession: I was a huge fan of the original “Roswell” in the ‘90s. Such a sundae.

Juliette: Question for you: In your latest book, Woman 99 (which I cannot wait to get my hands on, as I completely loved Girl in Disguise), what was the most interesting piece of information you dug up in your research, whether you actually used it in the book or not?

Greer: There’s so much that doesn’t make it into the book, right? We always find more than we can use. For Woman 99 specifically, the asylum setting was my biggest research challenge — it had to be realistic and accurate to the period without being completely depressing and exhausting for the reader. So I didn’t go deep on some of the uglier “treatments,” though I worked in a passing mention of the one I found most shocking: the utterly quack-y idea that there was a link between dental health and mental health. The idea that pulling a depressed patient’s teeth out would somehow help them seems ridiculous to us now, but it was a real thing that happened. And here’s the extra-creepy part: Dr. Henry Cotton, who did a lot of this “focal infection therapy” in the early 1900s, believed so strongly that infections of the teeth spread to the mind that he removed his wife’s and children’s teeth just in case. Ew! Truth is creepier than fiction!


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Read more at JulietteFay.com.

Keep celebrating women in history!

Just because March is over is no reason to stop celebrating women in history, right? For one thing, I have more WomensHistoryReads interviews I’m excited to share with you over the coming weeks. And I loved this piece from Diana Giovinazzo, co-creator of Wine, Women & Words, about concrete ways we can all keep the conversation going.

I particularly liked this tidbit: “Share what you learn. In this age of social media, we are capable of sharing more than just cat videos. Use the technology we’ve been given to be a beacon of knowledge and to bolster women who are breaking down barriers.“

Check out Diana’s full essay here.

WomensHistoryReads interview: Jess Montgomery

Pioneering women in law enforcement have never gotten their due. Within the past few years, historical fiction readers may have learned the names of Constance Kopp (from Amy Stewart’s books) or Kate Warne (from mine), but there are dozens, even hundreds, of names like theirs we could know.

Add Maude Collins to the list. She was Jess Montgomery’s inspiration for The Widows, and you’ll learn more about her — and Jess — in today’s Q&Q&Q&A.

Jess Montgomery

Jess Montgomery

Greer: Tell us about a woman (or group of women) from the past who has inspired your writing.

Jess: In THE WIDOWS, my protagonist Lily Ross is inspired by Ohio's true first female sheriff in 1925, Maude Collins. Maude became sheriff in Vinton County when her husband, Fletcher, was sadly killed in the line of duty. After his funeral, she was packing up in the sheriff's house for her and her five children when the county commissioners came by and asked her to fill in for Fletcher. She did so, and in 1926 ran for office in her own right--and won. I was struck when I learned of Maude by how challenging serving as a sheriff in such circumstances would be now--what's more, nearly a hundred years ago. Then I began imagining what it would be like for a young woman to lose her sheriff husband but under mysterious circumstances, and the lengths she might go to to find out the truth. Thus, Lily was born--a character in her own right. I am blessed to have several aunts who were very tough women who were also leaders in male dominated work fields, so I drew on them as well for the spiritual inspiration for Lily.

Greer: If you could pick one woman from history to put in every high school history textbook, who would it be?

Jess: Mary Harris Jones, a.k.a., Mother Jones (1837-1903). She was a dynamo labor organizer--including for the United Mine Workers. She became an organizer after her husband and four children all died of yellow fever, and she lost her dress shop in the Great Chicago Fire of 1871. She was known as "the most dangerous woman" in America in 1902 for her efforts to help mine workers organize into unions.  She is the spiritual inspiration for Marvena Whitcomb, a widow and mine union organizer in my novel THE WIDOWS.  I love Mother Jones for her feisty spirit and passion for the working class. After such a terrible loss, it would have been understandable if she'd given up--but she didn't. Learning about her is a way to also learn about the history of workers' rights, unions, and women's rights. Her name is also the inspiration for Mother Jones magazine, which I think high school students would find fascinating!

Greer: Do you consider yourself a historian?

Jess: Not at all! But I do love researching the settings and times for my novels in great detail and am indebted to actual historians. I also love to dig into source material (newspapers of the day, for example) as much as possible. I very much want to get all the historical details right, without turning my novel into an historical treatise. 

My question for you: To me, historical fiction is a chance to time-travel a bit into the past--which is fun--but it is also so much more than that. It's a way to see the present, and perhaps even the near future, with a fresh perspective. For example, women's rights have certainly progressed since 1925, but by looking at women's roles in the 1920s, we can also see the ways in which some attitudes haven't changed. Do you think of historical fiction as a lens for looking afresh at the present?

Greer: Absolutely! I’m fond of saying that historical fiction is a way of looking at how far we’ve come and how far we have yet to go. Anyone who brushes off historical fiction as irrelevant because it’s about things that happened a long time ago is really missing out. And historical fiction that uses history as a jumping-off point can really be enjoyed twice: once, while you’re reading the fictional story, and a second time, as you search out the real history that inspired the novel. Reading and enjoying, reading and learning — what could be better?

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For more on Jess:

Web and blog: www.jessmontgomeryauthor.com

Facebook: @JessMontgomeryAuthor

Instagram: @JessMontgomeryAuthor

Twitter: @JessM_Author

WomensHistoryReads interview: Stephanie Barron

I used to live in Brooklyn Heights, billed as “America’s first suburb,” built when people first realized that living right next to New York had some advantages over living in New York itself. Because of its age, there’s a historical house around nearly every corner. One day, strolling around Henry Street on the far side of Atlantic, I checked out a plaque: 426 Henry Street was the birthplace of Jennie Jerome, Winston Churchill’s mother. Winston Churchill’s mother was American? I thought. I need to know that story.

So when I saw the cover of Stephanie Barron’s That Churchill Woman, I knew it was the story I, and plenty of other people, had been waiting to read.

Stephanie Barron

Stephanie Barron

Greer: Tell us about a woman (or group of women) from the past who has inspired your writing. 

Stephanie: There's no question in my mind that the women who preceded Jane Austen--the women she read, like Anne Radcliffe, Fanny Burney, Maria Edgeworth, Aphra Behn, and others--were strong, independent, and daring writers. In some cases they wrote for financial survival; in all cases, from intellectual and emotional need. They were highborn and low, personally secure or clinging by their fingernails to respectability; but each had a voice and was determined to express it. Along the way, they revolutionized what was generally a male-framed world. Austen's genius is that she also advanced the novel form in ways that neither men nor women before her did, by pursuing a linear and internally coherent narrative; she learned from those she read and improved upon them stylistically. One of the great gifts to scholarship in women's literature is Chawton House, one of the estates that belonged to Jane's brother Edward, which houses a center for the study of Early Women's Writing. I can't think of a greater tribute to Jane and her work. (I should also say that I have authored a mystery series with Jane Austen as the main character, and have been an ardent Janeite from the age of 12, so perhaps I'm biased.)

Greer: Do you consider yourself a historian?

Stephanie: It depends upon the audience I'm talking to, honestly. I hesitate to proclaim myself an historian because I left a doctoral program in history at Stanford without writing my dissertation--I am what is known as ABD, "all-but-dissertation," meaning I passed my Orals but never penned the opus. This had to do with several things: I found as I journeyed through graduate school that I was more interested in the PEOPLE I studied than in the sweeping historical trends of demographics or economics, and the field was tilted in the latter direction when I was in school. I also found the academic community less than congenial. I far prefer writing fiction about historical figures--and I draw heavily on every single skill I learned, as a student of history for seven years, to do it. Those are techniques and principals I discuss with readers when we talk about historical fiction--so that those who like my work feel reassured that it's based on exploration of the existing record, even when I choose to diverge from it. I've been lucky enough to write about Queen Victoria, Virginia Woolf, Jack Kennedy, Ian Fleming, and Allen Dulles; most lately, of course, about Jennie Jerome Churchill, Winston's outrageous American mother. I love exploring a particular moment through the life and mind of an era's standout people.

Greer: What do you find most challenging or most exciting about researching historical women?

Stephanie: The effort required to unpack the truth of their inner lives from the multiple layers of obfuscation, distraction, and sheer bias that result from most women's habitual depiction at the hands of male historians. Take Jennie Churchill, for example--I have spent a lot of time researching her son Winston for several of my WII spy novels (JACK 1939, THE ALIBI CLUB, TOO BAD TO DIE) written as Francine Mathews. I grew increasingly frustrating that the parent who clearly shaped him most, his mother, was consistently dismissed as frivolous, irrelevent, self-centered, neglectful, even nymphomaniacal--when Winston himself unequivocally adored her. I stepped back and looked at the fact that most of HIS biographers were male and British, and deplored the fact that England's greatest hero was only...half-English. It is the greatest source of indignation among conservative British historians of a certain male school, that Jennie was a Dollar Princess, and independent woman raised by her father to be fearless and joyous, a woman of considerable intelligence, broad experience, virtuosic artistic ability, and strong political opinions--a woman who would have thrived in this era, but was way ahead of her own. It's been immensely satisfying to present her to a current audience, and allow them to evaluate her for themselves.

My question for you: What compelled you to write WOMAN 99?

Greer: I did feel compelled! I was inspired by Nellie Bly’s intrepid journey undercover in an insane asylum in 1887, but I didn’t want to write a journalist character or just replicate what Nellie had done — if you want to read what Nellie did, after all, you can read her account — and that was where Charlotte Smith came from. And the extra little odd bit of inspiration was that at the time I was obsessed with thrumming beat and threatening lyrics of the Elvis Costello song "Don’t Want to Go To (Chelsea),” which includes lines like “Men come screaming/Dressed in white coats/Shake you very gently by the throat.” It seemed like a sign to write the asylum idea I had in mind. Sometimes the world gives us a nudge.

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Shelf Awareness loves WOMAN 99!

Today marks exactly three weeks since Woman 99 hit shelves (that long already!?). You never know exactly when — or even if — reviews are coming down the pike, so I was pleasantly surprised to be scrolling through today’s Shelf Awareness for Readers and stumble across a very familiar-looking cover.

And they loved it! Here’s a great snippet: “Against this backdrop, Charlotte struggles at Goldengrove to shed light on the mistreatment of women at the hands of profit-hungry men; it's impossible not to root for the sisters as they work to combat that mistreatment on behalf of themselves and others. Woman 99 is a fast-paced historical thriller perfect for book club discussions.“

Click here for the full review.

Yay!

WomensHistoryReads interview: Chanel Cleeton

It has become increasingly clear to me that I’m going to run out of March before I run out of WomensHistoryReads interviews! Again. But, as I said over on History in the Margins, having a Special Month is no excuse not to call attention to great books by and/or about women the rest of the year. And the rest of the year starts, well, next Monday.

But we’ve got one more week of Women’s History Month proper, and I’m happy to kick it off with this Q&Q&Q&A with Chanel Cleeton, whose real-life historical inspiration comes from the women in her family. You’ve likely read her blockbuster Next Year in Havana — read below to find out what you can look forward to next (and soon!) from Chanel.

Chanel Cleeton

Chanel Cleeton

Greer: What’s the last book that blew you away?

Chanel: I’ve been really fortunate to have some amazing reads lately, but one that instantly comes to mind is The Map of Salt and Stars by Jennifer Zeynab Joukhadar. From the first page, I was captivated. The writing is so lyrical and stunning that I found myself swept away. It’s a dual timeline novel set eight hundred years apart in Syria, and is beautiful, breathtaking, and heartbreaking. The modern-day story of a young Syrian refugee and her family and the extraordinary lengths they go to in order to survive is one that has really stuck with me. It’s a tremendously powerful book that I cannot recommend enough. 

Greer: Tell us about a woman (or group of women) from the past who has inspired your writing.

Chanel: My most recent books, Next Year in Havana and When We Left Cuba, have largely been inspired by women in my family, particularly my grandmother. My grandmother lived with us growing up and we had a special bond. She used to tell me stories of her life in Cuba and she passed on so much of our history and culture to me, and really gave me a great appreciation for where I came from. She was a strong, unapologetic, fierce woman and I’ve injected a lot of her spirit into my characters. My grandmother was pregnant with my father during the Cuban Revolution and lived through a tumultuous time in the eight years she lived in Cuba under Castro’s regime and then her exile to the United States. I was inspired by her strength and courage when writing Next Year in Havana and When We Left Cuba and strove to honor her legacy with my words. 

Greer: What’s your next book about and when will we see it?

Chanel: My next book, When We Left Cuba, will be out on April 9, 2019. While it can be read as a standalone, it follows the story of Beatriz Perez (the sister of my heroine from Next Year in Havana) after her family has arrived in the United States following Fidel Castro’s rise to power in Cuba. Living in South Florida, Beatriz becomes involved in a plot with the CIA to assassinate Fidel Castro, and the novel follows the turbulent Cuban-American relations of the 1960s including the Bay of Pigs, Cuban Missile Crisis, and Kennedy Assassination. 

Question for you: What characteristics inspire you when choosing a real-life heroine for your books? 

Greer: It’s a bit of a challenge to choose — there are so many more fascinating, untold (or at least under-told) stories than I could possibly tackle! I’m most inspired by women who bucked the trends of their time, but I also prefer characters who aren’t entirely good or entirely evil. After all, that’s not what we’re like in real life, right? Also, sometimes I stick fairly close to what’s known, as with Kate Warne in Girl in Disguise, and sometimes history is more of a jumping-off point, as with Nellie Bly and Woman 99. In Nellie’s case, she was a journalist, so if you want to read about her undercover adventures at Blackwell’s Island, you can already do that, since she documented them. So I took that inspiration and created a character who does one of the things Nellie did — feign insanity to infiltrate an insane asylum — but for her own reasons. That’s where Charlotte Smith came from. And that way I get to draw on a host of different stories to synthesize a coherent story with a satisfying ending. Which doesn’t always happen in real life.

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