Brown bread and other weighty matters

I returned recently from a week’s visit to Ireland to research my new book, working title Glencurragh, set in County Cork. While there, I was fortunate to stay with friends in the Bandon area. We had several wonderful meals together and each featured the traditional brown bread of Ireland. On parting, my friends gave me a book, The Complete Irish Pub Cookbook, knowing how much I like pub grub and in particular the bread.

Note: While both versions are made with baking soda, Irish Soda Bread is white, while Irish Brown Bread is made with whole wheat flour and is brown.

The photo above is my first attempt at it from the book’s recipe, using white and whole wheat flour, oatmeal, baking soda & salt, buttermilk and a bit of molasses (in place of treacle which wasn’t available where I shop). Though slightly burned on top it is still chewy and delicious, especially slathered generously with Kerrygold Irish Butter. Do I need to write anything else here?

Well, you may be pleased to know Americans are not the only ones who enjoy eating first, and then worrying about their weight after. In the kitchen of my friends Teresa and Eddie, there was talk about who weighed how many stones. I had not realized that, with the metric system firmly in place, people still talked about weight in the ancient way, in terms of stones. Apparently it is common practice in Ireland, the UK and parts of Europe.

A standard measure is according to a standard market item, wool (everyone has an Irish wool sweater, right?), and a stone’s measure of wool equals 14 pounds. So that would mean I weigh, oh, well, you know, several stones anyway.

But it seems there is more than one stone to consider. For example, if I am measuring sugar or spices in England, a stone equals 8 pounds. If I measure glass, a stone equals 5 pounds. But in Belfast, a stone’s weight of flax equaled 16.75 pounds. And if I was in County Clare, my stone of potatoes might weigh 16 pounds in summer and 18 pounds in winter. Don’t ask me why, I’m just an American and I haven’t a clue. (Clues from Irish and UK readers welcomed.)

Thomas Jefferson once proposed that the United States adopt a decimal system for both currency and units of measurement. He got the nod on the first idea as we know, but not so much on the second. Although the idea of "getting stoned" did pick up some currency.

And in case you were wondering (you weren't but…), a sack is a unit of wool weighing 28 stone, which thankfully weighs a whole lot more than me. Much more valuable details can be found here.

Stay tuned! As the jet lag fog continues to lift there’ll be more stories from my visit to the Emerald Isle.

In the meantime, embark on your own Irish adventure by reading Sharavogue, winner of the Royal Palm Literary Award for historical fiction. Available from online booksellers:

amazon.com

barnesandnoble.com

iTunes for ipad

Author branding: Put a tag on it

Give yourself a royal branding:The author branding worksheet, part 3

In this week’s post we will focus on the three the remaining elements of my author/personal branding worksheet, including:

TAGLINE MARKS COLOR PALETTE

(If you’ve missed the earlier posts, click on part 1 & part 2.)

These three elements are much easier to develop once you have completed the earlier sections that give a full understanding of your audience, your brand, its basis and driver, your vision and mission. Your positioning statement helps clarify exactly what your audience needs to know.

These elements also call into play one of the basic rules of communication, and particularly electronic communication – the three second rule. You’ve heard of this rule in regard to candy dropped on the floor (is it still safe to eat?) and most likely in basketball (a lane violation), but it also applies to websites, advertising and any visual communication – like book covers. The rule is, you have three seconds to capture a person’s attention. Either it is visually compelling enough to get readers to stay, or they bounce off to something else: Click to another site, pick up another book, turn the page, goodbye.

Many things are constantly competing for a person’s attention these days. If you can’t grab them fast you’ve lost them. That’s why good headlines and strong graphic design are critical to your brand.

TAGLINE

Everyone does not need a tagline. Primarily they are intended for advertising, but businesses do use them as a hook on websites and signage and in numerous other ways. The main thing with a tagline is to use it consistently and do not waver. Wherever you used it make sure the words, capitalization and punctuation are exactly the same. Make sure it is clearly readable. And make sure it is unique and appropriate (which means you’ll need to do some searches to make sure your brilliant idea has not already been used and trademarked by someone else.)

Many people think writing a tagline is easy, and there certainly have been some classic tags that resulted from a sudden bolt of brilliance. But most of the time a good tagline requires creative thought about all the brand elements, focused brainstorming, and trial and error.

A great tag line is memorable, enlightens people about your business, and differentiates your company and product from competitors. Generally, a good tag line is a short, catchy phrase with an interesting and positive message delivered in 3-6 words.

-- simplewebsiteservice.com

Taglines are used in three ways: To highlight your brand driver or unique selling proposition, to introduce and showcase your brand, or to capture your positioning against your competitors.

There are five styles of taglines:

• Strong claim
• Showcase benefits
• Showcase company
• Question audience
• Reveal customer emotions

For an author or personal brand, you are showcasing yourself and your values, so the third option may be the best choice, but I would not rule any of them out. Brainstorming should not be constrained.

Start by looking at the websites of other authors or professionals you admire. What is your first impression? Do they use a tagline? How is it used? What words do they use to describe themselves? Think about those words, borrow the ones you like, and list others you can think of that describe what you do.

Next, think about your audience and try to answer this question: Why should they be interested in you and what you do? Answer in as many ways as you can. Consider your particular strengths, your style or approach. And think about what makes you different from others who do what you do.

For me, I thought about my work in historical fiction, my focus on Irish history because of my own passion for it, and my decision to write it in terms of an adventure, with less detail than most historical fiction authors use, and with a faster pace. And, I decided to write my tagline as a call to action. The result?

Embark on an adventure in Irish history

It may not be the world’s best tagline, but it is appropriate for me and it does tend to snag people in when they read it at my book festival booths. Especially if they are Irish or traveling to Ireland.

Do some brainstorming by yourself or with someone else who knows you well. When you have a few options you like, test them on some friends or readers via email, Facebook or in person. See which option resonates the most, and then make it work for you everywhere: Your website, business cards, postcards, posters, one-sheet and wherever else it makes sense for you.

MARKS

A mark is that single graphic that stands for you, and would represent you when you cannot actually be present. For an author, in most cases your mark would be your name, and you might choose a particular type face to use consistently. You might be tempted to choose some of the more graphic typefaces that suggest your genre, like Edwardian Script for historical fiction, or Thriller for thrillers or mysteries. Resist temptation! You will be far better served choosing something that is clean and professional looking. If you decide to write in different genres you will have something that is effective across the board.

If you work with a graphic designer for your book covers (highly recommended), your designer can help you find a typeface that could work well on your covers and be repeated in all of your promotional materials. Once you’ve selected a typeface, stick with it even if you are bored and tempted to try something new. Your signature typeface becomes a core part of your visual brand.

If you will be self publishing, you may need an identity – a logo – that can be used for your book imprint. Again, the designer who does your covers can help ensure everything for your brand works together and can be used consistently. If you design your own there are a few things to remember.

• Always keep your audience in mind. It is easy to get caught up in something you think looks cool, but you may be too close to the process. The graphic you like may not resonate or even make sense to your audience. As with the tagline, be open to feedback.
• A logo should be simple, clean and strong enough to hold up equally as well whether you use it on the side of a city bus or the back of a ladybug. Don’t get too detailed with fine lines and shades that might not hold up. It’s a good idea to design first in black on white. Once that works you can think about colors. Print it in various sizes to see how well it reproduces. You may be sending it out to print media, and they are typically in a deadline rush in which your mark is not their priority. They can make a mess of even the best logos. A strong and simple mark will help you ensure consistency and protect your brand.
• You will need multiple file types (such as jpg, eps, tiff) and multiple sizes to send to the various places you’ll use this logo, so understand what they are and how each is used.

COLORS

Signature colors are a great way to express your brand. Brand colors should be chosen for specific reasons. Queen Elizabeth, for example, chose colors of white and gold to represent her purity, and red and black to express her wealth (red and black dyes were very expensive in her time). Courtiers who wanted to identify with her went to great expense to wear the same colors.

In my last job, my organization operated an airport, a seaport, public marinas and public parks. So, the brand colors selected were light blue (air), green (land) and dark blue (sea) and were displayed in three wave-shaped bars indicating forward movement.

For myself I chose two shades of green, to reflect both the color most often associated with Irish, and the prominent color on the cover of my first novel. I added a third color of ocean blue for variety and balance. I wear the greens at every book festival, signing or speaking event, not as a uniform but via a scarf or a nice silk blouse so the message is not shouted but still effective. And, I use the colors prominently in my book displays.

What colors should you choose? Here again I strongly advise working with a graphic designer who has experience with various media and how colors behave in each. Print colors do not look the same as screen colors, but designers can find the best options to give you greatest consistency across all media.

Think about the values you want to represent, and then take a look at a color chart to get some ideas.

http://www.pantone-colours.com

Color alone cannot be counted on to influence your readers’ behavior, because people tend to react to colors based on their own experiences, but it can play a role when it reflects the core values of your brand.

It’s the feeling, mood, and image that your brand creates that play a role in persuasion. Be sure to recognize that colors only come into play when they can be used to match a brand’s desired personality (i.e., the use of white to communicate Apple’s love of clean, simple design).

http://www.helpscout.net/blog/psychology-of-color/

I hope this series has helped you fill out your branding worksheet, or at least get a good start on it. I know it takes a bit of soul searching, but knowing your own brand sets you on a solid path for marketing yourself in a consistent and professional way.

Let me know how it works for you. I’m happy to answer questions and respond to your comments. Happy branding!

Sharavogue is an award-winning novel of 17th century Ireland and the West Indies. It is both historical fiction and fast-paced adventure. You can purchase Sharavogue at amazon.com, barnesandnoble.com, and most online booksellers. Visit my website at www.sharavogue.com for more information.

Follow this blog for research updates and announcements. I’ll be posting a new series soon about my on-the-ground research in Ireland for my upcoming book, a prequel to Sharavogue.

Author branding: Lessons learned from royalty

As a follow-up to my series on author branding (A Royal Undertaking), this post focuses on applying the lessons learned from the first personal branders – kings and queens throughout history. These were the people who first learned and demonstrated the power of a strong and consistent personal brand. Kings and queens needed their people to obey them, to respect them, and of course to pay taxes without storming the castle. Their personal brands could be communicated to all the places they could not go physically, to generate the acceptance they required to lead.

So what can authors, and truly anyone who needs a personal brand, really use from the royalty discussed in my series? First and foremost, remember that we are all the kings and queens of our own brand. BE A TYRANT. I remember hearing a story about Paul McCartney’s road crew complaining that he was difficult to work for because of his controlling and demanding management style. McCartney’s response? Hey, it’s my name on the marquee at every show, not yours.

From the Egyptian queen Hatshepsut we learned the basics to establish your personal brand:

• Definition. Values are the basis of your brand and guide what you will and won’t do in your business and in your life. Values are what you want people to know about you, and get to the core of who you are. Hatshepsut’s primary values were leadership and legacy. Remember, in personal branding, you are promoting yourself, not your book. Readers want to engage with authors who are real people.
• Opportunity. You can’t be all things to all people. Find a niche that will allow you to shine, and has subject areas that speak to you and can keep you interested. Branding is a long-term relationship. As pharaoh, Hatshepsut had the opportunity to build things, so she focused on art and architecture to create her legacy.
• Focus. Hatshepsut focused specifically on a few main things that addressed her values. Don’t participate in every book event or every charity, choose one or two that fit your brand values and dig in. Many authors support literacy, for example, because what would we be without readers? And don’t run yourself ragged trying to be on every social media platform. Choose the ones that really serve you and fit who you are.
• Endurance. A strong consistent brand can endure. Note that Hatshepsut’s has been around for nearly 3,500 years. Make sure your brand is authentic and something you can always support and protect.

Henry VIII: The key to King Henry’s personal brand is his persona. The powerful, charming, larger-than-life, man’s man image he created was something the citizens of his time already wanted, expected and respected in their king. He didn’t create something he wasn’t, but he did project and highlight those features that would please his audience. The virile king in shining armor beating his opponents in a jousting tournament, for example.

Authors, like royalty, can create a persona in the minds of their audiences and the general public, to thereby be remembered. What aspects of your personality define you? What interesting facts about your personal or professional background make you stand out, and are those aspects important to readers of your genre?

Queen Elizabeth I took the next step by positioning herself in the minds of her audience. This was important because of the turmoil of her times, to distinguish herself from her sister – Bloody Mary – who ruled before her, and from her mother Anne Boleyn who had been executed for treason. Elizabeth distanced herself from these negative images by claiming her descendancy from the Trojans, King Arthur and Henry VIII, her divine right to rule, emphasizing her values of peace, religious unity, international trade and naval dominance, and her purpose to maintain the well-being, security and prosperity of her people.

• Your positioning statement should establish you firmly in the minds of your audience.
• Once developed, positioning can guide your marketing strategy and tactics to serve you for the long-term.
• The colors, imagery and messaging you use should support your positioning and persona, be thoughtful and consistent, and repeated again and again.
• Your persona must support your positioning statement and vice versa.

Louis XIV was the first royal I know of who, having defined values over fashion to drive his brand, insisted on written guidelines to maintain the brand’s consistency and therefore its power. A good written strategy helps ensure the brand is made visible and relevant to its target audiences.

Lessons learned from Napoleon are more cautionary. To support a personal brand you must align your actions with your persona, and lean toward transparency rather than duplicity. When what you exhibit or say differs from what you actually do, you break down the trust that is essential to any brand. In today’s world of social media, we are all just an Instagram away from a trashed brand if we do not live our values. Napoleon also teaches us to listen to trusted advisors. Just as every writer needs an editor, every person needs to be open to other perspectives.

And from our American presidents Lincoln and Kennedy, we learn the value of harnessing the technology of the day to communicate most effectively with our audiences. Most definitely, today that is social media, but there are so many channels of communication available, so what is the most direct route from you to your audience, and how can you use it best? (Remember, content is king!)

Next week my post will walk you through the steps in a personal branding worksheet I first presented at the Amelia Island Book Festival in February. Sure, you could spend a year or two creating a personal brand. Or, with this worksheet and some soul searching, have your basic brand framed out in a matter of days.

Embark on an adventure in Irish history with the novel Sharavogue, winner of the 2014 Royal Palm Literary Award. Now available from online booksellers. Author Nancy Blanton will be exhibiting at the South Carolina Book Festival in Columbia, SC, May 16-17, 2015. You may also connect with her on Facebook.

Stories of Death by Construction

Have you ever heard a story of construction workers who died on the job being buried as part of the structure they were building? One of the first stories I heard was of men entombed within the Brooklyn Bridge. Apparently this is a myth, because a decaying body embedded in a concrete structure would then make that structure unstable. However, author David McCullough estimates 27 people were killed in various accidents or safety issues during the bridge construction.

I became curious about these myths after I happened across one story recently while researching the upcoming prequel to my historical novel Sharavogue. Call it serendipity, it was one of those magical, unexpected discoveries that make researching history fun, while providing genuine detail to spice up a novel. Centuries ago during construction of the enclosing walls for the town of Bandon, County Cork, Ireland, a young man was killed when a fellow mason working on a scaffold above him accidentally dropped his pickaxe. In the 1800s, the site was being excavated to build a summerhouse. When the workers found a large flagstone that gave a hollow sound when struck, they thought (hoped) they might have discovered an ancient stash of gold coins. Instead they found the skeleton of the poor mason, the pickaxe still under his skull, and his hammer and trowel by his side. In his pocket was a silver coin from the reign of Edward VI.

Little remains of this wall today, but stories live on, right?

Such as the Hoover Dam, where somewhere between 96 and 112 workers were killed between 1931-36. The myth has it that it was too costly to halt construction when a man was killed and so the concrete pour continued. But if this was true, the structure would not have been able to withstand the pressure of all that water over the years.

With the body of water that would become Lake Mead already beginning to swell behind the dam, the final block of concrete was poured and topped off at 726 feet above the canyon floor in 1935. On September 30, a crowd of 20,000 people watched President Franklin Roosevelt commemorate the magnificent structure’s completion. Approximately 5 million barrels of cement and 45 million pounds of reinforcement steel had gone into what was then the tallest dam in the world, its 6.6 million tons of concrete enough to pave a road from San Francisco to New York City. Altogether, some 21,000 workers contributed to its construction.

One story where site burials are not a myth is that of the Fort Peck dam site in Montana. Eight workers were caught in a slide there in 1938, but only two bodies were recovered.

My curiosity produced many stories of human sacrifice during constructions projects, as well as immurement. One from Germany concerned a mother who sold her son to be interred in the foundations of a castle, and then--feeling rather guilty--she threw herself off a cliff.

And a fascinating yet horrifying story is that of the Mole in Algiers, a massive breakwater started in the 16th century by the pirate-king Barbarossa. This structure was intended to provide defense against the Spanish, but the work was constant and relentless, requiring more than 30,000 Christian slaves for labor, and costing the lives of 4,000 slaves, or about five lives per foot of structure.

These days, thanks to safety requirements, construction deaths are fewer, workers are paid, and as far as I know are well cared for in case of accidents or deaths. In the US, private industry construction deaths per year are in the hundreds, not thousands. The leading causes of construction deaths are falls, being struck by an object, electrocution, or being caught between things.

I'll be visiting Bandon later this year for a little on-the-ground research, and will say a prayer for that poor mason who died there. Until then, keep it safe out there, and follow this blog for stories about my travels in Ireland starting in June, and for notices of when the new book will be out.

And in the meantime, embark on an adventure in Irish history! Sharavogue is the award-winning story of a peasant girl who vows to destroy Oliver Cromwell during his march of destruction across Ireland in the 17th century, and her struggle for survival on a West Indies sugar plantation.

Author branding: Honest Abe to Camelot

Part 7 in a series on personal branding American presidents are not royalty, coming to power via election rather than bloodline, but they still enjoy many of the protocols of European royalty covered so far in this series, and have used personal branding as a primary weapon in their get-elected arsenal. Several of our 43 presidents have had outstanding personas, but two are particularly remarkable to me: Abraham Lincoln and John F. Kennedy. Their brands are so strong that you almost automatically think "Honest Abe" and "Camelot."

Every school kid knows the story of the impoverished Abraham Lincoln, growing up in a log cabin and reading books by candlelight. As Alan Brew writes,

"Lincoln’s life exemplifies what has been variously labeled 'the American dream,' or 'the right to rise' from rags to riches. In Lincoln’s case it is quite literally a rise from a log cabin to the White House. His story is the embodiment of Lincoln brand: gritty determination, honesty, family values, unswerving belief in America and the basic rights of his fellow men. His life offers a powerful testimony to dream. It is what ordinary Americans want to believe about social mobility and the opportunity to get ahead."

In fact, he was a highly intelligent lawyer and was one of the first presidents who was actively branded and marketed to the voting public by his political campaign. Sociology professor and author Jackie Hogan said in an interview, "There were all kinds of theatrics: pulling up a fence rail and parading around saying this fence rail was split by Abraham Lincoln. They created an image of him as an average Joe, and in many ways, he was not an average Joe. But he was very happy to ride that reputation into the White House.”

What Lincoln had that other presidents, and royals, lacked, was access to new technology, and he used it to advantage to receive and distribute information. This new technology was the telegraph. It had been used primarily by the banking and financial industry, but Lincoln was the first president to use it for wartime communication.

"Like social media the telegraph is an electronic form of communication. The telegraph increased the speed at which information and communication could be received it changed the world, it changed war, and it changed daily life."

--Scott Scanlon

Lincoln certainly had his detractors. It would be impossible not to, leading a nation in the time of a civil war, but he rose to power through his intellectual leadership, and in many cases was able to diffuse contentious situations through his powerful oratory. He was able to define, in elegant and often poetic layman's terms, the sides and meanings of an issue. Today we might call that "content marketing."

And though some thought his physical appearance awkward, he did try to look the part. "At his second inauguration, Abraham Lincoln wore a coat specially crafted for him by Brooks Brothers. Hand-stitched into the coat's lining was a design featuring an eagle and the inscription, 'One Country, One Destiny.' He was wearing the coat and a Brooks Brothers suit when he was assassinated."

While Lincoln came to power when the nation was divided, John F. Kennedy came into office on a wave of prosperity, the post-war boom. And where Lincoln had use of the telegraph, Kennedy had television:

"Once a commodity that few Americans with money possessed in the late 1940's, it was now in the homes of all Americans by the era of the 1960's. It was this medium that would blast across the screen the youthful, handsome, rich, John F. Kennedy with his young beautiful wife Jackie and their two vivacious children." xroads.virginia.edu

In the 1950s and 60s, when families were watching Ozzie and Harriet, and Father Knows Best on TV, the Kennedy family exemplified that perfect, happy image, and Kennedy played into it, allowing his family and particularly his children to be photographed "under his desk, in their playrooms, in the Rose Garden, in their schoolhouses, throwing parties, Caroline riding her pony, or John-John running toward the helicopters and planes which so often captivated him."

Kennedy also used his charisma and knack for rallying people around an aspirational cause that they already wanted, such as being first on the moon, or creating the Peace Corps. There was an unwritten rule that his dark side (the extramarital affairs, connections to organized crime, plot to assassinate Fidel Castro) were not to be revealed, and they were not until investigative reporters of the 1970s got into it the files. Kennedy was the last president to enjoy that kind of relationship with the press.

Lessons learned

So what are the takeaways from these two presidents that can be applied to author branding?

First, it pays to know your audience and what they want. Both Lincoln and Kennedy understood their times and identified their personas with the ideals of the time. Even though they were faced with very difficult issues and circumstances, their personas helped them maintain public support through crises, and have survived the decades. One might argue that the assassinations propelled them into indelible memory, but polls still rank them among the most beloved presidents, and their personas live on. For authors of historical fiction, readers want to understand the relevance of what you write for today's world.

Second, it pays to use technology to advantage. Today's social media and a fairly unforgiving consumer audience make the kind of duality these presidents experienced difficult if not impossible. But consistent messaging and a strong brand story, strategically distributed to target audiences, can create a memorable personal brand that will stand for you when you need it most.

Third, just as you create your own persona, think about the personas of your target audience: who they are, what they want, and what they need from you -- not to create a false image to project to them, but to clarify how to reach them best, and how to create and distribute content that is meaningful to them while still aligning with your own values and brand.

Previous posts in the series:

Part 1, Intro          Part 2, Hatshepsut          Part 3, Henry VIII

Part 4, Elizabeth I          Part 5, Louis XIV       Part 6, Napoleon

Embark on an adventure in Irish history with the novel Sharavogue, winner of the 2014 Royal Palm Literary Award. Now available from online booksellers. Author Nancy Blanton will be presenting at the Amelia Island Book Festival, February 20-21, 2015. You may also connect with her on Facebook.

Author branding: 3 lessons from Napoleon

Part 6 in a series on personal branding

For using personal branding to advantage, Napoleon Bonaparte was truly the emperor among history's royals. In Getty Museum's book, Symbols of Power in Art, Napoleon gets his own chapter, "A Case Apart." Historian Jules Tulard wrote, "There have been more works written about Napoleon Bonaparte than there have been days since his death."

His mother said Napoleon behaved like a ruler even from an early age (sounds like a typical toddler to me…) but struggled to fit in at school. He spent a lot of time alone reading, thinking and dreaming. At age 16 he wrote, "Always alone in the midst of people, I return home in order to give myself up with unspeakable melancholy to my dreams. How do I regard life today?"

His dreams even then must have been quite powerful for, while he valued revolution and political reform, what he wanted most was personal glory. His path to power was through military leadership and successes, and he once advised one of his generals to concentrate on "strength, activity, and a firm resolve to die with glory. These are the three great principles of military art which have always turned fortune favourable to me in all my operations. Death is nothing; but to live defeated and without glory is to die every day."

Tulard regarded Napoleon's brand persona as "the myth of the savior," truly the great leader on the white horse, bringing power, prestige and glory to France. Napoleon had a brilliant understanding for how to maintain this image using portraits, objects and writings:

"From carefully falsified army bulletins, to paintings and engravings, to the jewelled snuffboxes adorned with his portrait and distributed to the bishops who officiated at his coronation as Emperor, Napoleon knew how to create a cult of personality that maximised his popularity and sought to win the loyalty of those who might oppose him." --From History Today, "Napoleon the Man," Gemma Betros

His portraits are carefully constructed to show him as a fierce and valiant military leader on the white horse, a thoughtful and compassionate government administrator, a god-like ruler with the scepter of Charles V and the hand of justice of Charlemagne. Eagles on carpets and furniture symbolize imperial power, the bee embroidered into clothing symbolize industry. His feet do not touch the ground but rest on ornate pillows, indicating his godlike authority. In these images he invested heavily, but he could not tolerate criticism and worked to suppress images that opposed this persona.

"When he rose to power in 1799, Napoleon Bonaparte had serious concerns about comedic references to his personage. He immediately ordered the closure of all satirical papers in Paris and let it be known that cartoonists who toyed with his image would be dealt with severely. In 1802, he attempted to insert a clause into the Treaty of Amiens with England stipulating that any British cartoonists or caricaturists who used his image in their art should be treated in the manner of murderers and forgers. The English rejected the unusual amendment."  --From psychologist Nichole Force in a post about the dangers of humor

But over time his ability to suppress negative information was unsuccessful, especially when military defeats and other issues began to fray his persona and reveal the divergence between the image and the man. A series of key portraits depict his rise as a young officer and his eventual and dramatic decline, brought on, according to some historians, by his swollen ego and perhaps the remnants of the lonely teenager he had once been.

"Where the eager young officer would energetically mine others for advice, and the self-assured First Consul could openly admit to being wrong, as Emperor Napoleon became increasingly reluctant to hear the opinions of advisors, gradually preferring to work long hours in a solitude that suggested not so much ambition as quiet desperation as he led France to defeat." --Betros

Three takeaways from Napoleon

How can Napoleon's personal branding experience inform the personal branding of an author?

1. A personal brand persona must align with the actions of the person. You've heard the old saying, actions speak louder than words. When what you exhibit or say differs from what you actually do, you break down the trust that is essential to any brand, personal or corporate.
2. Prepare your brand for transparency rather than duplicity. In Napoleon's day duplicity served him by allowing him to appear to be doing one activity while covertly planning something entirely different. But in today's world of social media, this kind of misrepresentation is almost impossible to maintain and in the long run will get you smeared.
3. Always be willing to listen to trusted advisors and well-intended feedback. Just as every writer needs an editor, every person needs to understand how he or she is seen from the outside. Nor can we see all perspectives in every situation. Most people want you to succeed, and their well-intended advice may not always be helpful but it is worth listening to, just in case. It can also help you to temper those things that drive you, so that they do not drive you into the ground.

Next week, Part 7 in the series will look at two American leaders who, although they were not royalty, created strong personas to help them gain the support of the populace.

Previous posts in the series:

Part 1, Intro          Part 2, Hatshepsut          Part 3, Henry VIII

Part 4, Elizabeth I          Part 5, Louis XIV

Embark on an adventure in Irish history with the novel Sharavogue, winner of the 2014 Royal Palm Literary Award. Now available from online booksellers. Author Nancy Blanton will be presenting at the Amelia Island Book Festival, February 20-21, 2015. You may also connect with her on Facebook.

Author branding à la française: The Sun King

Part 5 in series on personal branding

It should come as no surprise that when it comes to personal branding, the French take it to a higher level. The Sun King, Louis XIV, is the most outstanding in a long line of Louis who had impressive nicknames: Louis the Young, Louis the Lion, Louis the Saint. These guys had the right idea of personal brand. And then, there were a few who kind of botched it: Louis the Quarreler, and Louis the Prudent, the Cunning, the Universal Spider (this one deserves further exploration in another post!).

But The Sun King has transcended the centuries, reigning longer than any other monarch of a major European country (more than 72 years, 1643-1715). He is memorable for centralizing government, for his lavish Palace of Versailles, for his his grand poses (and shapely legs), and of course for his fashion sense.

Taking back control of his country from the Catholic cardinals, Louis XIV believed in rule by divine right. He valued fiscal and military reform, law and order, the arts, and thriving French industries that could be effectively taxed. To move forward with his goals, he had to start by eliminating the mammoth corruption and embezzlement by some of his advisors.

He gained the respect of the populace by focusing first on law an order, and relied on his new government ministers reporting directly to him to help establish and maintain his public image. King Louis understood that the display of magnificence and splendor created part of a king's power. He also knew the value of repetition. His portraits were numerous, and his images were distributed far and wide to reach as many of his subjects as possible.

According to Peter Burke, author of The Fabrication of Louis XIV, "Louis saw himself everywhere, even on the ceiling."

His personal symbol, or logo, was the sun, and anything that bore his standard -- his bed and his dinner table even if he was not present -- was to be respected as if he himself were there.

Brand guidelines

To maintain a consistency of image and message in all of this repetition, there had to be rules, and Louis understood this as well. In all its forms, his public representation had to convince the audience of his greatness. Louis identified with admired historical figures such as Clovis, the first Christian king of France, and Charlemagne. So, the artists, musicians and writers drew from such powerful images as a Roman triumph, an equestrian statue with the horse stomping some evil. In state portraits he was:

• Larger than life, his eyes higher than the viewer

  

• Dressed in armor symbolizing valor, and/or clothing showing his high status (In the 17th century, elaborate wigs and high heels became the custom, and served to enlarge the king's impressive stature.)
• Surrounded by powerful props such as globes, scepters, the sword of justice, thunderbolts and laurels
• Wearing the expression and posture of dignity and grandeur

"As for the expression on the royal visage, it tends to vary between ardent courage and dignified affability. A smile is apparently considered inappropriate for the King of France," Burke wrote.

In addition to portraits, sermons, sonnets, poems, literature, plays, coins and tapestries all had to present the king in this idealized light.

Brand strategy

To help implement his brand, King Louis had Jean-Baptiste Colbert who devised and documented a strategy whereby the king would be glorified as a patron of the arts. This "communications plan" included a list of all the various media where the king could not only invest but be depicted, as well as a list of individuals, their strengths and weaknesses, who could be called upon for the work.

"The plan was put into place in the next decade," wrote Burke, "when we can observe the 'organisation of culture' in the sense of the construction of a system of official organizations which mobilized artists, writers and scholars in the service of the king."

Like the sun, King Louis rose with the work of his reign and the help of his brand advisors, but in later years experienced a "royal sunset" when expensive wars, fragmented politics and a shortage of talent contributed to the decline of his popularity. There would be two more Louis to rule France before the French Revolution of 1789, but none to reach so high a zenith.

The takeaways

What can we learn from the personal brand of the Sun King?

• Again, that values rather than fashion must be the brand driver.
• That guidelines are necessary to maintain the brand's consistency and thus its power.
• And, that a good written strategy helps ensure the brand is made visible and relevant to its target audiences.

Next week, part 6 of the series will focus on Napoleon.

Sharavogue recently won first place for historical fiction in the Florida Writers Association Royal Palm Literary Awards! You can purchase a copy from online booksellers and at the Book Loft on Amelia Island, FL. I will be presenting at the Amelia Island Book Festival Feb. 20-21.

Author branding: Like Good Queen Bess

Part 4 in series on personal branding Sometimes called Good Queen Bess, Gloriana, or The Virgin Queen, the second daughter of Henry VIII became Queen Elizabeth I of England at the age of 25. She quickly and masterfully defined herself in the eyes of her people -- that is, she established her personal brand.

At a disadvantage from the beginning because she was female, protestant, and the daughter of the executed Anne Boleyn, she was also coming into power after the death of her half-sister Mary, aka "Bloody Mary." Elizabeth needed to establish a firm base of power that her courtiers and her people could respect and accept. In her case, facing the likelihood of Catholic assassins, a strong personal brand was truly a matter of life or death.

Values and positioning

Elizabeth had been in training for royalty for a long time. She knew what she wanted: Increased world trade, supreme naval power, religious unity, and economic prosperity. She didn't care for war, but did not shrink from it in order to protect and defend her power and her nation.

To those ends, Elizabeth not only created a powerful persona, but also "positioned" herself as a strong and just ruler, a most noble and formidable king in a gentle woman's body.

Positioning is a way to define yourself to your audience in a positive and memorable way, while differentiating yourself from your competitors or predecessors.

If I were to quickly write Queen Elizabeth's positioning statement, first I would beg forgiveness at being so bold and admit a royal positioning statement would require a lot of serious thought and development time. That said, it might go something like this:

For the people of England, France and Ireland, we (the royal we) descend under divine right from Britain's greatest monarchs, to establish peace, religious unity, international trade and naval dominance, and to maintain their well-being, security and prosperity. 

• Elizabeth based her claim to the throne first on history, descending from the Trojans, linking to King Arthur and Henry VIII. This history and provides the background to her many symbolic portraits, and to this she added color choices, iconography, and especially consistency.
• Elizabeth did not care to sit for portraits so eventually artists were given "approved" facial forms to paint from, adding to the consistency and agelessness of her persona.
• She preferred white gowns to emphasize her fair skin and bright hair, and augmenting her image of purity. Her courtiers wore miniatures of her to show their devotion, and had their own portraits painted wearing Elizabeth's colors – black, white, red and gold. (At the time, red and black dyes were difficult to obtain and process, so they were restricted to the wealthy.)
• In addition to portraits, Elizabeth's persona was communicated (and sometimes created for her) through poetry, drama, music and architecture.

Power of Portraits

Elizabeth had no advertising or social media to broadcast her message, so of course portraits were the best way to establish her persona. After the defeat of the Spanish Armada in 1588, a famous portrait (above) shows her with the ships in the background and her feet upon a map of the world. Her hand rests on a globe below the crown, her fingers cover the Americas, indicating England's plans for expansion , and she is flanked by two columns suggesting her history. In the background  the ships are driven to dark destruction while Elizabeth enjoys the sunlight.

“Elizabeth’s savvy in regard to managing and manipulating public opinion was substantial. She spent lavishly on gowns, jewels, portraits and royal progresses, whistle-stop horseback tours of her domain that let her see and be seen. Her skill with rhetoric, both visual and verbal, was undisputed, as in the legendary speech delivered to her troops on the eve of the Spanish Armada. The queen, dressed in an Athenalike white gown and silver breastplate, told her men, 'I have the body of a weak, feeble woman, but the heart and stomach of a king—and of a King of England too.’” --Hanne Blank Virgin, The Untouched History

In what is known as "the pelican portrait" she wears pearls indicating purity, the Tudor rose indicating unity, and a pendant that shows a pelican mother caring for her young. In Elizabeth's time, mother pelicans symbolized self sacrifice of mothers to care for their young, and as an icon represented Elizabeth as mother and protector of her Protestant nation and her subjects.

Like a virgin

As Elizabeth aged and determined that she would never marry, she became famous for her virginity -- even though many believed she'd had a long-term love affair with Robert Dudley, Earl of Leicester. She was celebrated as The Virgin Queen in the portraits, pageants and literature of the day.

Virginity was a courtly ideal. In younger days Elizabeth's virginity had represented her purity, innocence and chastity, making her a perfect bride for some wealthy prince. As she aged and all suitors were refused, her virginity was spun into a maternal sacrifice of herself for her country and her people, lending an air of holiness to her reign.

Wings to fly

Elizabeth was also immortalized by the poet Edmund Spenser in his epic The Faerie Queen, where she was represented as a goddess and the embodiment of beauty and virtue. In reality, about this time her skin had been damaged by small pox, she'd lost much of her hair, and had to wear wigs and heavy makeup. Still, her gowns in some portraits are magnificent constructions of high shoulders and great wings. The Rainbow Portrait, painted when Elizabeth was in her 60s, is actually one of her sexiest, with her white floral bodice, her loose hair and elaborate headdress, a mantle draped over one shoulder, and a cloak designed with eyes and ears motif, the serpent of wisdom on her sleeve, the a rainbow with the motto "no rainbow without the sun." She reminds me of the recording artist Cher in this one: Ageless and outlandish.

In spite of many difficulties during her reign, Elizabeth remained popular with the majority of her subjects, and was praised as a heroine of the Protestant cause and the ruler of a golden age. Following her death in 1603, the date of her accession was a national holiday for 200 years.

Reason to believe

So what can be gleaned from Elizabeth's positioning in terms of personal branding?

• Your persona must support your positioning statement.
• Once developed, positioning can guide your marketing strategy and tactics to serve you for the long-term.
• The choices you make to represent your brand, such as colors, imagery and messaging, should be thoughtful and consistent, repeated again and again.

To create a good positioning statement you should (1) define your target audience, (2) include the frame of reference, as in the category or genre in which you operate, (3) articulate the benefit or unique qualities being offered and (4) give customers a reason to believe you will deliver on your promise.

Next week, part 5 of the series will focus on Louis XIV.

Sharavogue recently won first place for historical fiction in the Florida Writers Association Royal Palm Literary Awards! You can purchase a copy from online booksellers and at the Book Loft on Amelia Island, FL. I will be presenting at the Amelia Island Book Festival Feb. 20-21.

Author branding and Henry VIII: Royal persona

Part 3 in series on personal branding If England's King Henry VIII had been an author, who might he have been? Authors, like royalty, can project certain images to create a persona in the minds of their audiences and the general public, to thereby be remembered and gain policy support, or book sales as the case may be.

As noted in Part 1 of this series, the proliferation of social media apps today make it nearly impossible to project an inauthentic persona. The moment you thought you had created a good one, someone would post an instagram of you carrying out the garbage in your underwear. But King Henry was able to create and project a persona that met his needs, and the corresponding author that comes to mind for me is Ernest Hemingway.

As young men, both Henry and Ernest were good looking with athletic physiques. Henry was known for having "an extremely fine calf to his leg," for example. Both played hard at sports, be it jousting or hunting, and both saw themselves as warriors. Both were interested in education and literature. Both married a few times. Both drank to excess. Both attained a "larger than life" persona that continued long after the men themselves had faltered due to illness and, well, bad behavior.

King Henry's Brand Persona

Henry VIII valued education, religion, arts, architecture, innovation and ostentation. He used his physical size to advantage -- he was 6'2" at a time when most men were considerably shorter -- and in many cases his portraits show him taking up most of the canvas. In the background of some portraits he was surrounded by the cultural sophistication reminiscent of imperial Rome.

He excelled at sports and held jousting matches, wearing his gilded armor, satin and pearls, as a way of showing his wealth, strength and power to visiting dignitaries.

To promote his campaign for church reformation, he had pamphlets created and broadly distributed, and paid theatrical and minstrel groups to travel the land and portray Catholic priests as devils while he was the defender of the true faith. (Reminds me of the branding road show I once led for employees in various departments, but in my case the past was the devil and the new brand was the hero.)

In architecture, the exterior of buildings included hundreds of busts, the laurel-wreathed heads of emperors, imperial authorities and military heroes, suggesting these heroes were the foundation upon which King Henry's Tudor dynasty was built.

In art he was featured at the center of huge architectural structures in classical style, in at least one case receiving the water of life and the book of life directly from the angels, a clear reference to his religious persona as head of the Church of England with the divine right of kings.

Later in life, even after a jousting injury and other health conditions changed him dramatically -- and even though the noble king was responsible for about 70,000 executions -- the glorious persona that he had created still permeated. Fans of the Tudors television series may recall in the last episode just before Henry dies, he orders the portrait artist Holbein to change his latest, and accurate, depiction of declining, sickly Henry into the standing image of the strong, virile (note codpiece), magnificent king he wanted his people to see.

In part, I would say, the success of Henry's brand persona is that the powerful, charming, man's man image he created was something the citizens of his time wanted and respected in their king. It was an image that was easy to accept, and easy to follow because it met with their own values, and even in the face of horrible truths it was hard to let go.

Stay tuned for Part 4 of this series, next week: Elizabeth I

Sharavogue recently won first place for historical fiction in the Florida Writers Association Royal Palm Literary Awards. You can purchase a copy from online booksellers and at the Book Loft on Amelia Island, FL. I will be presenting at the Amelia Island Book Festival Feb. 20-21.

Author branding: A royal legacy

Part 2 in series on personal branding In my last post I talked about some differences between corporate and personal branding, and how values rather than product should be the core driver for the brand. Because kings and queens were probably the first successful users of personal branding, we can learn from their practices.

In ancient Egypt, if the monuments and pyramids can attest, rulers valued nothing more than a legacy. Not only to be remembered by their people, but also to help open the doors to a prosperous afterlife, something akin to the Christian belief that good folks go to Heaven and get presents at Christmastime.

Way back in history, c. 1479 b.c., Hatshepsut became the sixth pharaoh of the 18th dynasty, one of few women to achieve that post, and she ruled successfully for more than 20 years. So concerned about legacy was this queen, she had an obelisk at Karnak inscribed: "Now my heart turns this way and that, as I think what the people will say -- those who shall see my monuments in years to come, and who shall speak of what I have done."

When her pharaoh husband died and she was named regent to serve while her infant stepson came of age, Hatshepsut saw a unique opportunity and took full advantage of it. She had herself declared king of Egypt. But now, especially because she was a woman in a man's role, she had to take steps to secure her throne.

She had herself portrayed as a man in the media of the day -- stone carvings -- complete with false beard, Khat head cloth and shendyt kilt, and looked much the figure of a man, showing strong shoulders, small breasts. (In fact, archaeologist have discovered she was obese, had very large breasts and suffered from a skin disease, the salve for which probably contained toxic chemicals that led to her death.)

She also renamed herself "Maatkare," basically a combination of words meaning truth, soul and Sun God (Re), suggesting she was in direct contact with the god and thereby legitimately held her throne.

In pursuit of her legacy, she focused on two things: Architecture and art. She built roadways and sanctuaries, erected commemorative obelisks, and carved her immense temple into the limestone cliffs near Thebes, containing more than 100 statues of herself in various religious poses.

Hatshepsut was basically everywhere. Even though her stepson, ascending to power after her death, did everything he could to remove and erase her legacy from history, most of it still remains.

And so, what four things can be learned from Hatshepsut's strategies for establishing a personal brand?

First, values. For Hatshepsut, they were leadership and legacy.

Second, opportunity. You may not be able to have yourself declared king like Hatshepsut, but in an author's world, to me this means finding a niche that will allow you to shine, and has subject areas that speak to you (like Re) and can keep you interested. Branding is a long-term relationship.

Third, focus. Hatshepsut did not try to do everything, but focused specifically on a few main things that addressed her values. She promoted trade, which made it easier to obtain the things she needed, like building materials for monuments, and art from all over the world. An author may have a lot of demands on his or her time and resources, and still needs time to write. Don't participate in every charity, choose one or two that fit your brand values. Don't try to attend every event or be on every social media platform. Choose the ones that really serve you in some way and fit who you are.

Fourth, endurance. A strong brand will endure. Note that Hatshepsut's has been around for nearly 3,500 years. Most of us can remember corporate brands we grew up with as kids, even if the company that created it no longer exists. I'll bet you can think of some authors right now who have amazingly durable personal brands. Their names alone conjure mental pictures. Bronte? Hemingway? Melville? Austen? Dickens? Twain? And the list goes on and on...

Stay tuned for Part 3 next week.

Sharavogue recently won first place for historical fiction in the Florida Writers Association Royal Palm Literary Awards! You can purchase a copy from online booksellers and at the Book Loft on Amelia Island, FL. I will be presenting at the Amelia Island Book Festival Feb. 20-21.

Author branding: A royal undertaking

As an author of historical fiction who also has a strong background in corporate branding, I've often considered the brands created by historical figures. For centuries, kings and queens had to create their personal brands for some of the same reasons corporations use branding today -- mainly to be memorable and likable by their audiences, and to differentiate themselves from their predecessors or perhaps pretenders to their thrones. Think of Henry VIII, for example. He was not exactly the icon of honesty, charity and good will, was he, now that history has revealed his true nature? But at the time most of the people of England would never meet him, and yet would be called upon to pay taxes and fees, and perhaps support an army going to war. He needed to project an image of strength, devine empowerment, leadership and benevolence. His personal brand, the persona the masses were allowed to know, projected exactly that.

I call that personal branding, even though he was the figurehead of a powerful government much like a corporation. His persona was built around a single person whose actions could make or break the success of the brand.

The basic structure of branding remains much the same between corporate and personal branding. A strong identity is created to represent the business or individual, and to suggest the value in products or activities of that entity. If the entity makes the commitment to that value and consistently delivers it, trust will develop among customers. Over time, the symbol of the brand, or logo, can by itself trigger a feeling of trust. And trust, in turn, generates more business.

But there are also significant differences between corporate and personal branding, especially for an author.

Corporations typically generate many products and may have whole families of brands that fall under one overarching brand, like Microsoft or Kraft. Managers of these brands struggle to create a personal connection with customers in hopes of building brand loyalty, but often fail because of the public's mistrust of corporations. That's why you see them posting in social media alongside other individuals, trying to humanize their organization.

While an author may be generating and selling multiple products similar to a corporation, it is always yourself you are selling. Many readers may try one of your books, and if they like it they will look for anything published in your name to continue reading your voice, your style and your command of storytelling. It is the consistency of quality that will keep them coming back, because they trust that you will deliver, but readers also are attracted to your own values and personality. You can't go around meeting every reader and talking to them about your values, right? So personal branding can help you communicate who you are more broadly and efficiently.

Branding does not mean that you run out and design a logo. Many people like to do this because it seems like the fun, easy part of branding. You can, of course, but in truth your name is your logo, and believe me, good logo design is not easy. A brand does involve imagery, but all the imagery is based on some very serious soul searching and groundwork. Once that is done, the rest falls into place more easily and you do not have to reinvent it every time you need an ad, a poster or a one-sheet. That's where the efficiency comes in.

But first, what is your brand? And who are you?

Many who talk about branding say it is a concise and compelling statement about what you do and how your products are better than any others. And that is one way of doing it. But the strongest and most enduring brands in the world go deeper than that. Their brands are based on values. Instead of telling customers what you do (they already know that), tell them why you do what you do. What drives you? What gets you up in the morning? What is that belief deep in your core that stokes your passion and makes you work so hard? You must find it, and it must be authentic. Write that statement, and from that will flow your mission, your tagline, your colors, your communications plan, your content.

And as I said, it must be authentic. I can't imagine the difficulty for an author to constantly project a persona that is not real, because the truth will show up in your writing anyway. If social media had been around in King Henry's time, no number of portraits, statues or proclamations would have sufficed to maintain his brand against the tweets, instagrams and blog posts that would expose him.

But that's another story!

Today I'm starting a series on royal branding, taking a playful look at some of the kings and queens who created strong personas to support and protect their leadership, and what we can learn from them. More to come!

Sharavogue recently won first place for historical fiction in the Florida Writers Association Royal Palm Literary Awards! You can purchase a copy from online booksellers and at the Book Loft on Amelia Island, FL. I will be presenting at the Amelia Island Book Festival Feb. 20-21.

Historical accuracy: It's good to be right

Last year when I started promoting my historical novel Sharavogue, I got several wonderful and very positive reviews on amazon.com, but was looking to spread the news to other readers. I requested a review from another place my book was listed, Indiebound.com. Great people there, but unfortunately I was matched up with an anonymous reviewer who I can only believe is a bitter and lonely individual. I say that not just because I received a bad review, which I did, but because it was unreasonably bad. Upon reading it, my hands began to shake. I had spent years carefully researching the time, the characters from that time, and all the details. It was the details this reviewer zeroed in on, questioning in a rather nasty tone the book's title, whether a certain kind of tree was present at the time, and so on, including the basic opening sequence in the book in which Oliver Cromwell arrives in Skibbereen, County Cork, Ireland. The reviewer claimed Cromwell had never traveled that far.

Now, since this is historical fiction, and it was at least plausible that Cromwell had visited the village in question, it does not really matter whether he actually did or not as long as I am clear in my author's note about the places where I have stretched the facts in support of the story. But I had studied Cromwell and found that he did in fact visit Skibbereen. I made two mistakes here.

First, I had found an historical map (above) that actually tracked Cromwell's progress in 1649, going through and past Skibbereen in southwest Cork. It gave me a premise to work from but, not realizing I might need it later I did not file a copy. If I'd had that copy I could have submitted it to the reviewer to request a revision in the review.

Which leads to my second mistake: engaging with the reviewer. Upon reading the erroneous review I sent back a message to Indiebound pointing out the errors in it based on my research. They sent my message to the reviewer for a response, and the result was a longer and even more erroneous and spiteful version of the original review. Indiebound passed it off as just a difference in opinion.

Happily for me anyway, while researching my new book I came across the map again, from the British Library no less, and saved it in my files.

Readers of historical fiction love a good story intertwined with fact, so that they can learn about historical  lives and times as they are entertained. I know, I am an avid historical novel reader myself. But as they used to say, tongue in cheek, when I was in journalism, don't let the facts get in the way of a good story. Do be as accurate as possible because you will have to defend some of the details. Don't sweat a minor detail if it helps move the story forward or it doesn't really matter. And don't follow my example -- keep copies of or document everything you find that might be useful to your story. You never know when it might come in handy. I won't be sending this map to the reviewer at this late date, but I feel vindicated anyway. And that's why I say…it's good to be right!

Get a copy of Sharavogue to learn about Cromwell's march in Ireland. When he gets to Skibbereen, the village is called "Skebreen" -- a shortcut the locals used. Cromwell is real, his march is real, and Skibbereen is real. The protagonist and her companions are fiction. The bridge in question is fictionalized based on undocumented legend, and a good story for sure!

Love those Royal Palms, and the trees too

Since returning to my home state of Florida after 21 years in Seattle, I have delighted in seeing the beach on a regular basis, the beautiful mossy oaks and the majestic royal palms. I did not know when I engaged with the Florida Writers Association I would have such a wonderful Royal Palm surprise in store!

At last week's FWA annual conference I received the Royal Palm Literary Award, first place for historical fiction, for my novel Sharavogue. It was an honor hoped for but not expected, and I am thrilled to be among so many talented writers who were recognized.

It was my pleasure to be sitting next to my new friend Linda Reynolds, whose unpublished thriller manuscript Spies In Our Midst also won a RPLA -- her book to be out later this year. And Mary Ann Weakley, my new friend from the book signing tables, won the RPLA for her memoir, Monastery to Matrimony, A Woman's Journey.

At the signing tables I also met Nadine Vaughan, who writes children's books and historical fiction, and lives just minutes away from me. We may be collaborating on some things soon. A shopper at heart, I picked up a copy of The Lantern by my friend Joanne Lewis, as well as The Secret Confessions of Anne Shakespeare by Arliss Ryan. Both of these are intriguing and hooked me on the first page.

Here is a partial list of the RPLA winners (from NE Florida), provided by Vic DiGenti, FWA Regional Director. For the full list see the FWA website:

Congratulations go out to a host of NE Florida writers who hauled in a large number of RPLA Awards. This includes the Book of the Year Award to M. W. Gordon, whose book Deadly Drifts took first place in the Thriller/Suspense category (Published), and went on to garner the Book of the Year (Published) award for having the highest total number of judges' points. BTW, Mike was the speaker at last month's Ponte Vedra FL Writers meeting.

General (Pre-Published) FIRST PLACE –BABE by Elle Thornton Fantasy (Pre-Published) FIRST PLACE – The Jaguar Key The Eternals: Book One by Kate Maier writing as Katherine Starbird Science Fiction (Published) Second Place – Lifespan by T. J. Silverio Women’s Fiction (Pre-Published) FIRST PLACE – Merciful Blessings by Lynn Kathleen (Pen name for Nancy Quatrano and Daria Ludas Historical Fiction (Published) FIRST PLACE – SHARAVOGUE by Nancy Blanton Novella (Pre-Published) Second Place – The Magic in the Middle by Mark Reasoner Thriller/Suspense (Published) Second Place – Power Fade by Keith Gockenbach Thriller/Suspense (Pre-Published) THIRD PLACE – A Lion in Spring by Kenneth R. Overman Autobiography/Memoir (Published) FIRST PLACE –Meeting Her Match: the Story of a Female Athlete-Coach, before and After Title IX by Debbie Millbern Powers SECOND PLACE – From the Inside Out by John David Tinny THIRD PLACE – A Life of Blood and Danger by Daniel J. Hill. Educational/Informational (Published) Second Place – Schools: A Niche Market for Authors by Jane R. Wood

Writers conferences and book festivals are such fun and great ways to meet and learn from other writers. They are not great places to sell books, unless they also open and advertise the book fairs to the local reader community. But as I noted recently in another blogger's post (and I can't remember which one or I would link), it does not matter how many books you sell at these events, it is about the people you meet and the effort you make to get your name out there. I sold only two books at St. Augustine's Heritage Book Festival, but one of the readers is a wonderful person who gave me a great review. Was it worth it? You bet!!!

So in addition to the thrill of winning a literary award for Sharavogue, the other benefit is the confirmation that it is important to continue writing. I am working on the prequel and sequel to Sharavogue and my research is uncovering some remarkable stories to tell. Stay tuned...

And mark your calendar for the Amelia Island Book Festival, February 19-21, 2015.

Roads into the past

Roads have always been important to civilizations, from narrow dirt pathways leading to water and food supply, to major super highways that support international trade and industry. In researching the past, knowing the roadways is key to understanding the way communities lived and operated. That's why I was thrilled recently to discover the Down Survey Project online. This is an amazing effort called the The Down Survey of Ireland Project, funded by the Irish Research Council under its Research Fellowship Scheme. The 17-month project was completed in March 2013. In short, the project combines digitized versions of surviving maps of Ireland from the 17th century (barony, parish and county level) with historical GIS (including various census and deposition sources) and georeferencing them with 19th-century Ordnance Survey maps, Google Maps and satellite imagery. Got that? Simple, right?

Well, no matter. If you have any interest at all in the history of Ireland, you will be amazed as I was to see the incredible public resource that this project has established.

Just as an example, for my book which begins in 1649, I can look up what landholders were in the area of my research, see exactly where their properties were located and what roads were in existence at the time. The old roads are represented as straight lines in the version I was able to bring up, and I doubt there were too many straight lines back then, but it does give me a general idea of locations and directions for ingress and egress. I'd say, for historical fiction it is a far better information source than my imagination.

Many thanks to the project team Micheál Ó Siochrú, David Brown and Eoin Bailey for creating this remarkable website. And thanks to Micheál Ó Siochrú also for his book God's Executioner: Oliver Cromwell and the Conquest of Ireland -- another valuable resource to me.

For England's roadways, historical novelist and blogger Patricia Bracewell has produced a four-part series on early English roads, featuring Watling Street, Ermine Street, the Fosse Way, and the Icknield Way. The series includes old maps and photos of present-day trails, and is featured on the English Historical Fiction Authors blog site.

Do you know of similar resources that might be helpful to authors? I'd love to know about them. Please comment.

Meantime: There are just three days left for my great giveaway of copies of Sharavogue on Goodreads. Sign up here!

Reviews & book promotion

I am pleased to say the Historical Novel Society review of my novel Sharavogue has now been posted. I am glad to see it after several months of waiting. HNS reviewers can be tough, and do not hold punches if they don't like something, so overall this seems to be a positive review. By the way, HNS has a conference in London first week of September. I won't be able to attend but I am sure it will be a great event.

It is wonderful, of course, to see "nicely written" in the first line of the review. The reviewer goes on to summarize the story, and notes that it moves along at a quick pace, "sometimes too quick." This may be true, I did intend to maintain a momentum, and most of my readers say "I couldn't put it down" -- which is a good thing.

A few other comments about timing and events I believe are subjective, but well taken as I work on the story for the prequel.

So what next? How can I maximize this review? I have shared it on social media. I am one who avoided all but Facebook for a long time because it consumes time that I would rather use in other ways. But it is hard to argue with the reach, if I have no data to actually recognize results in terms of sales. Last week I received a reader review on Amazon. I shared it on FB, and where usually I might get between 15 and 85 views, this one was reshared and drew more than 300 views and several very favorable comments. That was certainly worth the time invested.

My goal as an author is not to sell millions of books, just to sell at least enough to break even and support the next one. But there is no getting around the fact that promotion is hard work, requires constant maintenance, and is at least as much if not more time consuming than writing the actual novel -- and far less rewarding!

In a very interesting post, author Eileen Goudge explains why she left her traditional publisher to pursue self publishing. Initially I felt bad for her because it would mean she would have to take on all the promotional work independent writers and publishers have to handle themselves. But Goudge dispels the myth that traditional publishers offer a marketing budget for your book. Apparently authors are on their own anyway, and then are discarded if their book sales are not stellar. Perhaps she is better off not having to play the game of traditional publishers. I wish her great success!

Heiress abduction for wealth and status

The abduction of an Irish heiress occurs in my next novel, a prequel to Sharavogue, so I have been looking into this practice which, for men, was a rather acceptable means of elevating one's station in life. Not surprisingly, the heiress abduction theme has been a favorite for the ages among romance writers and those studying legal history. On a quick search I came up with historical fiction/romance authors Amanda Scott, Claire Thornton and Paul B. McNulty focusing on this theme, plus numerous scholarly articles. I'm sure there are countless more.

As part of my research I just finished reading The Abduction of a Limerick Heiress by Toby Barnard. I think the picture on the cover tells the story -- the woman as ornament, possession and plaything (according to the fellow on the left with the come-hither finger), but the look on her face suggests she is at times complicit.

In this case, the heiress Frances Ingoldsby is abducted not once, but twice. Her family pulls her away from the first fellow (and she is glad to go because he is already having affairs with household servants). While the fellow claims to have married Frances, her family presumes the marriage illegal and not consummated, and hides her away in a rectory. From there she is again abducted by a fellow of slightly higher standing in the community, Hugh Fitzjohn Massy, who aspires to a gentleman's status. Massy soon realizes he has his hands full, because Frances is a bit of a belligerent alcoholic, and he requires his entire family to keep her in check and support his scheme.

Soon the agendas of all who believe they have a stake in Frances's inheritance start playing out, and family members with political standing exert pressure on the lawyers and judges to ensure their own profitable outcome.

With abductions, once the crime had been done in most cases the family did not fight too hard for the woman's return, because it was assumed the heiress had been, shall we say, "damaged" by the abductor and they would have difficulty finding her a suitable husband once she was back on the marriage market. So it came down to negotiating the best deal for the stakeholders. Poor Frances, treated like the prize pig.

In the end, she willingly marries and has a son by Massy, but in fact the story continues. When Frances dies, the maneuvering begins anew, the same arguments are revived, and the fight is on for her inheritance.

In her book, Stolen Women in Medieval England, Caroline Dunn writes that abductions, sexual violations and elopements were all classified as "thefts" in statute law at the time. (See review by Emma Osborne.) As Julia Pope points out, it was not the victims themselves who were seen as stolen property, but rather the lands and wealth that would be transferred through them. The crime of abduction was taken very seriously, and resulted in courtroom battles and sometimes more violent responses, but the heiress did have a bit of sway. Under 13th century law, if the female victim did not consent to the marriage, or consented after the fact, the criminal punishment remained the same.  However, if she had consented in advance of her abduction, no crime had been committed.

Blogger Susanne Saville writes about a more recent event, the 1826 abduction of 16-year-old Ellen Turner in Scotland. Her abductor convinced her that only by marrying him could she save her family from the poor house. Thus, she unwittingly consented, and it took an act of Parliament to annul the marriage. The abductor was convicted of the crime and spent three years in prison.

In the PBS Masterpiece series Downton Abbey there have been two abductions. Between Lady Sybil and the chauffeur Branson, it is actually an elopement because Sybil is consenting, and the family persuades them to return to the castle together where Branson's status is elevated. In another episode -- horrifying to me as a Labrador retriever owner -- Thomas the footman abducts Lord Grantham's dog Isis in hopes of being seen as a hero when he later rescues the dog. Someone else finds and returns Isis, but Lord Grantham, seeing the deeply concerned Thomas after an all-night search, mistakes his fear for loyalty.

The lesson for a storyteller? There are a thousand ways to go with the abduction theme, and all of them can be dramatic and interesting!

Writing: Building Story out of Chaos

My reading list right now is has about six legs, so I liken it to a bee flitting all about and drinking up honey. I never know where it is all leading, and frankly it is none of my business at this, the research stage of writing. My job is to soak it in and when I have enough, the empty spaces will fill in and show me how everything is connected. As Jeffrey Rush said as the character Philip Henslowe in "Shakespeare in Love," strangely enough, it all turns out well. How? "It's a mystery!" Recently, I started The French Mistress by Susan Holloway Scott. I enjoy her books and wanted to learn a little more about what went on in the Restoration years. This is about the relationship between the Duchess of Portsmouth and the amorous King Charles II.

After the Amelia Island Book Festival in February I exchanged books with author Dee Phelps. Her first novel, The Disappointment Room, is set in South Carolina during the plantation era, about an evil mother who hides a disappointing child in an attic room and pretends to her politician husband that the child is dead.

Last week I picked up Winter King, Thomas Penn's book about Henry VII and the dawn of Tudor England, which was recommended to me by my friend John King. It was published in 2011 but I had not seen it before. The reading is slow-going at first, because of the complexities of family connections, but fascinating and informative.

As I am now living in the South, I also like to learn about the local area history, so I am studying the Timuqua Indians, from a book by Deon L. Jaccard. The Timuqua were in North Florida for about 4,000 years before the French and Spanish arrived to build forts and colonize. Apparently they were tall, fit, peace-loving people who, to their own downfall, helped the Europeans survive. I should have learned about all of this in high school, but if the story of the Timuqua ever was mentioned to me it fell on deaf ears, I'm sorry to say.

I am eager to get through this material and see where it all goes, but as we writers all know, life happens in the meantime. Yesterday I spent most of the day recaulking a bathroom. Ah well, somehow that may end up having a role in the mystery also. You never really know which part of your experience will ignite the story.

Happy writing!

Who cares about historical fiction?

I suppose I'm not the only author who sometimes asks herself, "Is anybody out there really going to read this?" But I was pleased to read M.K. Tod's 2013 Historical Fiction Reader Survey to find out that in fact there is a strong audience, and it is growing in the under-30 age group.

Tod's survey (funded by the Historical Novel Society) reached nearly 2,500 participants, mostly female, during 2013 and her results were published in January this year. While it is not exactly a scientific survey and Tod notes the probability of bias because the survey was distributed through historical fiction blogs and websites, it still provides useful information.

The highlights for me were that historical fiction is now mainstream, and most readers are aware when a book is independently published but it does not it does not stop them from making a purchase. The strongest driving factor for the purchase is a GOOD STORY. (This one's my favorite.)

And, the top three reasons respondents read historical fiction? (1) To bring the past to life, (2) Because there are great stories, and (3) To understand and learn without having to read non-fiction. That's right! The authors read all that stuff for you and weave the details together into something that is true, entertaining and educational!

At a recent book festival, a gentleman approached me and felt the need to tell me why he would not purchase my book. He said he believed historical fiction distorted the facts, and he did not know which parts were true, and which parts were fiction. I tried to tell him that usually you can tell that the events are real, and most of the details, but the characters are often from the author's imagination as a device to help tell the story from a certain perspective. The author's notes and acknowledgements also tend to explain what is true and what is fabricated. Many books, like mine, include a list of readings (if not a complete bibliography) and sources for historical accuracy.

He was not particularly open to what I was offering, but we can't win them all. I am sure he continued through the book festival to find a hot new crime thriller.

Another big takeaway from Tod's survey is about the importance of social media. Readers favor online sources for book recommendations. Seventy-eight percent said they use blogs, websites and other social media. I guess there is little justification for holding out on that one. My good friend Andrea Patten, a non-fiction author, says she uses Facebook religiously, but it is Twitter that attracts the most new readers. (Sigh!)

If you are an author of historical fiction I encourage you to read Tod's report. I found the results inspiring!