The Historical Novel Society North America 2025 in Quotes: Part One

Yesterday I returned home from my third in-person Historical Novel Society North America (HNSNA) conference and my sixth HNS conference overall. This time the conference took place in Las Vegas! As I’ve done at the last few conferences, I’m sharing some of the favorite quotes I heard from fellow authors and a handful of publishing professionals over the last few days. A Part Two post will follow when I’ve had a chance to listen to the recordings of the sessions that I did not attend IRL.

Reporting from #HNS2025!

As usual, research continued to be a hot topic among the historical fiction community, with many writers sharing their go-to resources.  Jennifer S. Brown: “When I’m stuck, I dive into historical newspapers and magazines and see what was going on in the world.” Amanda Skenandore: “Old travel guides can be a treasure trove.” Judith Starkston: “Travel is the best kind of research.”

But Special Guest Silvia Moreno-Garcia urged us to consider oral history in addition to classic archival and library research: “Oral history paired with research can be a valuable foundation for your book.” She also shared that, “An erroneous memory can be more interesting than a real one. We must understand the lie and the truth inside it.” Spotlight Author Jeffrey Blount had a similar perspective: “The best writing advice I’ve ever received is, ‘listen.’”

Special Guest Fiona Davis also had helpful advice about some of the pitfalls of researching, suggesting we, “Keep meticulous records of the materials that helped shape your novel.” She also talked about how we can get lost in our research: “I can pack in too much research and have to strip it out.” Meanwhile, A.M. Stuart had a helpful reminder that we’re writing about historical fiction rather than history: “I’m not writing non-fiction. I make things up.”

Drafting was also a hot topic, with Kelsey James telling us, “It’s important to have momentum when drafting,” and Spotlight Author Sarah Penner keeping her advice straightforward: “Finish the book.” Hazel Gaynor touched on the software we’re using to draft: “I’ve heard that if you go towards the light of Scrivener, you never go back.” And when it comes to knowing if your draft is final, Jeffrey Blount noted, “A novel is never really finished. It’s abandoned.”

The perennial debate between plotting (i.e., outlining) and pantsing (i.e., flying by the seat of your pants) continued. Natasha Lester: “I have no idea what I’m doing when I sit down to write a book. That’s part of the fun. It keeps me entertained.” Jonathan F. Putnam: “I wish I knew from the beginning who did it.” Fiona Davis: “I know the twist and the ending.” Hazel Gaynor: “I write my book in the order the reader reads the book.” Amanda Geard told us, “I use guidelines vs. an outline,” while Hazel Gaynor had a great anecdote: “My cat moved a scene when a post-it note got stuck to her tail.”

Characters were also a big discussion. Rita Woods: “We’re not telling history. We’re telling the story of a person within history.” Natasha Lester advised, “When choosing POV, I consider ‘who is the best person to tell this story?’” Elizabeth Blackwell reminded us, “Your character doesn’t know how history is going to go.” And Louise Fein suggested, “Give your protagonist helpful skills and interests.” Janyre Tromp: “Think of one metaphor for your main character. Figure out how that relates to what they’re hiding.”

On the topic of characters, authors were asking agents and editors about the ethics and marketability of writing from perspectives other than your own. Editor Melissa Richter: “Mostly we are looking for people who are writing from their own experiences.” Agent Amanda Jain: “A sensitivity read is not a magic wand.”

Other craft topics talks covered included setting (Kelsey James: “Setting is often the first inspiration for me.” Amanda Geard: “I really love writing place as a tie between timelines.” Hope C. Tarr: “A historical saga makes you feel like you’ve been somewhere on vacation.”), tapping into the five senses (Kelsey James: “When people think of taste, they always think of food, but there are other things you can taste, like blood in your mouth.”), subtext (Janyre Tromp: “There are 40 things going on in my head but only one of them comes out of my mouth.”) and flashbacks (Hope C. Tarr: “If you’re relying too much on flashbacks you might not have started your novel in the right place.”).

When it comes to these finer details of honing your craft, Amanda Skenandore reminded us, “Adding nuance is often done best at the revision stage.” And, of course, no 2025 writing craft conversation would be complete without references to Artificial Intelligence. Jeffrey Blount: “I would not like to read a book written by AI.” Agent Ariele Friedman: “Please don’t use ChatGPT to write your book.”

Moving from craft to the state of publishing, speakers on all sides of the business weren’t shy in sharing their opinions. Sarah Penner: “The world of traditional publishing is a complete mess…Publishing is risk averse. They don’t care about quality. They care about making money.” Agent Ariele Friedman: “There are more books to publish and few people [working in publishing] to publish them.” Agent Amanda Jain: “I’m not going to say that traditional publishing is nimble, but it’s a little faster than it used to be.” The impact of #BookTok was also a hot topic. Agent Ariele Friedman: “Self-publishing is for powerhouses right now. If you’re crushing it on TikTok, go for it.”

As usual, there was plenty of chatter about the time periods and subgenres that are currently hot or not. Gill Paul had two pieces of advice when considering the salability of your novel: “You can choose a ‘less fashionable’ time period, if you pair it with a modern timeline [in a dual timeline],” and, “I like linking books to a centenary or other anniversary. It helps with press.” Hope C. Tarr also reminded us, “A tough sell does not mean an impossible sell,” when sharing the story of her novel’s path to publication.

One of the main themes we kept hearing about was genre blending. Agent Ariele Friedman: “Historical plus [another genre] gives you an advantage.” Many speakers focused on historical fantasy or historical fiction with elements of magical realism. Zenobia Neil explained her attraction to this subgenre: “I exist in the non-magical world every day and it’s really a drag,” with Rita Woods expressing a similar sentiment: “There isn’t enough magic in the world.” Vanessa Riley: “You can blend genres to make a bigger story that engulfs you.” Silvia Moreno-Garcia: “The real becomes more real with the inclusion of the fantastic” and, “There need not be an explanation for the fantastic.” For those for whom mixing genres is new, Pat Murphy had some advice: “Dip into historical fantasy by writing a short story—there is a robust market for sci-fi and fantasy stories.”

We also heard about what writers were reading (and not reading!). Janyre Tromp advised that we should, “Read scripts if [we] struggle with dialogue.” Rita Woods noted, “If I read while writing I start channeling the other writer.” And Silvia Moreno-Garcia also cautioned against modelling your style on canonical works: “When you imitate too closely, it has no life.”

There was also discussion around how published authors can best deal with our readers’ responses to our work. Sarah Penner: “Some people will love it, some people will hate it, most people will like it…Grieve in private and don’t burn bridges.” Heather Webb: “You can’t control the expectations readers bring to the page…It gets easier with readers over time.”

Writers also shared about the emotions that come with the ups and downs of a writing career. Sarah Penner: “I deal with imposter syndrome every day. And I didn’t when I worked in finance.” Kris Waldherr: “There are physical and psychological reasons for writer’s block.” The conference was a supportive forum for voicing these feelings. After all, Fiona Davis reminded us that this is not a zero-sum game, and that we shouldn’t be viewing fellow writers as our competition: “We should have, not a scarcity mindset, but an unlimited buffet mindset” (now that’s a Vegas-approved metaphor!).

I’ll wrap up Part One of this roundup, with a quote from Hope C. Tarr: “We’re not here because it’s easy. We’re here because we love it.” As we all fly back to our different cities and countries, I hope we remember this love of writing that unites us. I’m looking forward to listening to the other panels and talks and continuing to enjoy HNS from home. Stay tuned for Part Two!

Want to get or stay in touch post-HNS? Connect with me on Instagram, Facebook, or by tweeting @SVictorianist. And sign up for my monthly email newsletter here. 

The Historical Novel Society UK 2024 Conference in Quotes

Last week, I flew back from England after attending my fourth HNS conference in person. This time we were in Dartington Hall in Devon, the theme of the conference was “from the author’s page to screen and stage,” and I spoke on a panel with fellow writers Heather Webb and Kris Waldherr about authors as “adaptors” in retellings. 

On the ground at HNS 2024

Throughout the conference, as usual, I took notes on the gems of wisdom shared by other speakers. I hope you enjoy this roundup of some of the best quotes…

“Nurses don’t say, ‘I can’t work today. I have nurses’ block.’” Bernard Cornwell urged us all to treat writing as a job and show up at our desks, even when we don’t feel like it.

“Go camping.” Matthew Harffy gave us all this unusual piece of advice for getting into a medieval mindset.

“People deep down are still people regardless of when they lived.” Sharon Bennett Connolly suggested getting into your characters’ heads by considering what has remained consistent about the human experience.

“Butterflies are best seen flying around.” Ian Mortimer uncovered what is problematic about traditional approaches to history and made an argument for historical fiction as the best way to “experience” the past.

“No battle plan survives first contact with the enemy. No outline survives first contact with drafting.” Kate Quinn gave us this apt metaphor for how novels evolve beyond the planning stages.

Finola Austin (the Secret Victorianist) reporting from Devon

“Give each person space to do the things they love. Writers are drawn to different story elements.” The two writers behind A.D. Rhine gave us this valuable insight into their approach to co-writing fiction.

“Static settings are uninteresting.” Deborah Swift suggested we bring motion to our setting descriptions to bring them to life for readers.

“[Adapting for the screen] is intellectually challenging and fun.” Diana Gabaldon disagreed with Bernard Cornwell about how involved authors should be in screen adaptations of their work.

“It is much more difficult to write about history that’s within living memory.” Jane Johnson cautioned us about the tweets you might receive if you get details wrong in late-twentieth-century-set historical fiction.

“If I’d known how much research was involved in historical fiction, I’d have written contemporary!” Helen Steadman jokingly suggested that for aspiring writers, ignorance is sometimes bliss.

“The key to being a writer is getting a dog.” Lisa Highton noticed a theme in the conference of writers having their best ideas when walking, with or without a furry friend!

“I just became obsessed with people who are dead.” S.G. Maclean shared her (all too relatable!) experience.

With Heather Webb & Kris Waldherr

Were you also at HNSUK 2024? If so, I’d love to hear your conference highlights. Please stay in touch by following me on Instagram, Facebook, or Twitter, or signing up to my monthly email newsletter here. 

The Historical Novel Society UK 2024 Conference: An Interview with Finola Austin

I'm currently in London en route to the Historical Novel Society UK 2024 conference in Dartington Hall, Devon, where I'm speaking on a panel alongside fellow writers Heather Webb and Kris Waldherr.

Check out my pre-conference speaker interview here! If you're also going to the conference, please connect with me, on person or online (on Instagram, Facebook, Twitter, or by subscribing to my email newsletter). 

The Historical Novel Society North America Conference 2023, San Antonio, Texas—In Quotes (Part One)

I’m currently on my way home from the Historical Novel Society North America’s first in-person conference since 2019, which was held in San Antonio. For several days, IRL and virtual attendees enjoyed an array of talks, panels, and masterclasses from authors, agents, and editors in the historical fiction world. Those of us in Texas also enjoyed socializing and signing books at the readers’ festival, which was open to the public. 

In today’s post I’ll be sharing some of the most memorable quotes from the presenters I heard in action, organized by theme. Stay tuned for a Part Two post once I catch up on other recorded sessions virtually!

Reporting live (almost) from HNS 2023!

Writing Craft:

“Write like you’re in love. Edit like you’re in charge,” James Scott Bell (writer)

“There is nothing worse than a confused reader,” Denny S. Bryce (writer)

“Your point of view character should be determined by the climax of your book,” Kimberly Brock (writer)

“Prologues exist because readers are impatient,” Mitchell Waters (agent)

Publishing Industry:

“Stories aren’t complete until we share them,” Lisa Wingate (writer)

“Readers, not publishers, are the ones who determine which books deserve to be read,” Libbie Grant (writer)

“There are fewer and fewer people working on more and more books,” Marcy Posner (agent)

“Especially on kidlit, what I’m hearing is that editors want books about LGBT characters that aren’t about trauma but are about joy,” Shannon Hassan (agent)

Our Genre:

“History tells you what happened. Historical fiction tells you how it felt,” Jamie Ford (writer)

What to Write:

“American readers want to read about the topics most pertinent to them,” Weina Dai Randel (writer)

“I’m fascinated by the staff’s point of views, especially overlooked women,” Mariah Fredericks (writer)

Sex Scenes:

“Sex can reflect agency or loss of agency,” Laurie Lico Albanese (writer)

“Many book club readers skip the sex scenes. Proceed with caution,” Heather Webb (writer)

Retellings:

“We are always writing retellings. When we write new takes on classic tales the source is just more obvious,” Kris Waldherr (writer)

“For me, retellings are always about exploring different perspectives on a story,” Molly Greeley (writer)

Witches:

“Witches are a powerful symbol for marginalized people,” Paulette Kennedy (writer)

“We are righting a wrong and reclaiming the title of witch,” Alyssa Palombo (writer)

The Arts in Fiction:

“As writers we know what it feels like to create, so we can transpose these emotions onto other arts,” Carol Cram (writer)

Research:

“It helps me to walk the walk and take photos of places my characters would have been,” Nancy Bilyeau (writer)

Marketing:

“TikTok is a hot mess. No one knows what will go viral. What works on Instagram doesn’t necessarily work there but I post it on TikTok anyway for the content,” Vanessa Riley (writer)

If you were at HNS 2023 I’d love to hear what quotes and advice stood out to you from the conference—let me know below, by tweeting @SVictorianist, or by contacting me via Instagram or Facebook. Reading this later and on the fence about joining us for HNS 2025 in Las Vegas? I, for one, would love to see you there.

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(More!) Novels of the French Revolution

Back in October, to celebrate the release of Ribbons of Scarlet (2019)—a multi-authored historical novel about the women of the French Revolution—I strayed out of the nineteenth century and into the late eighteenth, with a round up of the best novels I’d read set during that tumultuous period.

I reviewed Andrew Miller’s Pure (2011), Hilary Mantel’s A Place of Greater Safety (1992), Daphne du Maurier’s The Glassblowers (1963), and the most iconic of all novels of the French Revolution, Charles Dickens’s A Tale of Two Cities (1859).

Eight months later, I’m back, with thoughts on three more novels, which take this bloody conflict as their backdrop.

Mistress of the Revolution, Catherine Delors (2008)

Delors’s novel centres on noblewoman Gabrielle—first, on the trials and tribulations of her childhood, doomed adolescent love and horrific forced marriage, and, later, on how she becomes embroiled in the events of the revolution. Gabrielle’s lot is a believable, if dramatic, one, but her character is underdeveloped and she seems to offer little beyond her attractiveness (her main bargaining chip throughout the book). There’s plenty of sexual content to titillate and horrify by turns, and Delors covers a lot of ground historically, incorporating some great details. Yet, on occasion, passages of political exposition become a little skim-worthy.

Becoming Josephine, Heather Webb (2013)

Webb’s protagonist’s biography would strain our credulity were it not true! This novel takes the future Empress Josephine as its subject, from her childhood in Martinique, to her terrible first marriage (there’s a theme here), to her love with Napoleon, to the pressures mounted on her to produce an heir, and beyond. Josephine was placed to be a great observer of the revolution, so these sections in particular are well wrought, and the nuances of her relationship with Napoleon come through. However the later parts of her life are a little rushed. I wish Webb had ended sooner, so the book had a clear novelistic arc vs. bordering on dramatized biography.

Little, Edward Carey (2018)

Carey’s Little (my most recent revolutionary read) is a very different beast. Like Webb, he takes a real person, who had a front row seat at the revolution, as his main character. In this case, it’s Marie Grosholtz, still famous the world over as Madame Tussaud. However, Carey isn’t constrained by history. His novel reads as an imaginative response to the art of waxworks, against the backdrop of a violent period when real bodies were frequently dismembered. His Marie (referred to by other characters as “Little” due to her diminutive size) is obsessed with bodies—their innards and their outer flaws and features. Illustrated by the author, this isn’t a read for the faint-hearted or weak-stomached, but it captures the madness and horror of the French Revolution, as well as the obsession with objects (clothes, wigs, locks, wax figures), which gave so many eighteenth-century Parisians their livelihood.

Do you know of any more great books set during the French Revolution? Let me know—here, on Facebook, on Instagram, or by tweeting @SVictorianist.

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Novels of the French Revolution

Back in June, the Secret Victorianist attended the Historical Novel Society Conference in Maryland (read my full review of the event here). While there, I was lucky enough to receive a signed advanced reader copy of Ribbons of Scarlet (2019), a novel jointly written by six historical novelists depicting the lives of many of the women who played an important role in the French Revolution, which began in 1789.

Ribbons of Scarlet is now top of my TBR (to be read) list, but in honour of the novel’s release on October 1, in this week’s blog post, I’m straying out of the nineteenth century and back into the eighteenth to share with you some of my favourite reads set during, or inspired by, the revolution that rocked Europe and changed France forever.

A Tale of Two Cities, Charles Dickens (1859)

Dickens’s depiction of the revolution, written seventy years later, influences how its events live on in popular imagination to this day. Expect narrow escapes from the guillotine, long imprisonments and rampant blood lust.

Aside from being a classic, A Tale of Two Cities offers a great glimpse into British responses to the revolution on England’s doorstep. It also has one of the best openings of any novel in English (check out my close reading here). Bonus fun fact: I once appeared as Monsieur (yes, Monsieur, not Madame) Defarge in a school play.

The Glass Blowers, Daphne du Maurier (1963)

Daphne du Maurier dug into her own family history to inspire her 1963 The Glass Blowers, a wonderful novel that examines the revolution through the eyes of a middle class family in the provinces. The novel deals with the divisions within families occasioned by any civil war and the misinformation that fuelled much of the paranoia that dominated the French Revolution.

Her main character, an unobtrusive first person, is representative of many men and especially women of the period, who tried to maintain domestic normality, while war and political strife ravaged the country.

A Place of Greater Safety, Hilary Mantel (1992)

Reading Hilary Mantel’s dense and captivating novel is as close as we can come today to experiencing the French Revolution blow by blow. Focused on Paris, Mantel illuminates the lives of three of the conflict’s main actors—Georges Danton, Camille Desmoulins, and Maximilien Robespierre—with a huge cast of supporting characters.

The novel is replete with interpersonal as well as political drama but this isn’t a story of ordinary people. If you want to dig into the nitty-gritty of factions, espionage and corruption, this is the book for you.

Pure, Andrew Miller (2011)

The most recent novel on my list, Pure isn’t really a novel of the Revolution at all, but of the years preceding it. Our protagonist is an engineer tasked with clearing the graveyard at Les Innocents in Paris, which is literally overflowing with corpses and therefore endangering the health of the city's residents.

The book captures the rising tensions in Paris in the 1780s, the bureaucracy of Versailles, the autonomy of different parts of the city and the fading influence of the Catholic Church. There’s even a cameo for Dr Guillotine himself as social discord rumbles, creating a dramatic stage for our central story. It’s dark, compelling, and beautifully told.

Other French Revolution related novels that are on my radar include Catherine Delors’s Mistress of the Revolution (2008), Edward Carey’s Little (2018), and, of course, Ribbons of Scarlet. But I’d love to hear what other books on the topic you’d recommend I check out! Let me know—here, on Facebook or by tweeting @SVictorianist.