Saturday, June 27, 2015

Love of Art in Fiction

I'm pleased to share my article in the series Love of Art in Historical Fiction. Stephanie Renee dos Santos interviewed me on my love of art, which traces back to my father, who was a watercolor landscape artist:

"The Tapestry by Nancy Bilyeau is the golden star of this Tudor mystery trilogy, featuring novice nun Joanna Stafford and her difficulties and adventures through the tumultuous reign of King Henry the VIII. This novel to the best of my knowledge explores for the first time ever the arts of Tudor England in historical fiction. I reveled in learning about “arras”, the formal term for Flemish tapestry work of the sixteenth century and the fact that England was in possession of one of the world’s greatest collections of them. Bilyeau takes us inside King Henry the VIII’s court and into his royal artist studio under the helm of German artist Hans Holbein the Younger who produced numerous paintings for the king like the little painting “The Dance of Death” featuring a floating skeleton visiting a ruler, for no one, not even a king escapes death’s clutches. Full of secret plots and twisted motives this mystery weaves a story that keeps you wondering until the end. You’ll be surprised, dismayed, and consumed by the tale that unfolds and enjoy learning about the art and artists of this time.

"Sketch, paint, catalog…throw the loom shuttle and try to please the tastes and temper of King Henry the VIII or else…"

To read the interview, go here.

Sunday, June 7, 2015

I Am Not a Historian


There. I said it.

I’m still alive.

More and more, it appears that historical novelists are positioning themselves as historians. Readers demand accuracy in their fiction set in the past—authors certified in history can supply it.

Philippa Gregory’s website begins with this statement:  “Philippa Gregory was an established historian and writer when she discovered her interest in the Tudor period and wrote the novel The Other Boleyn Girl which was made into a TV drama and a major film.”

I’ve seen other websites and interviews and book jackets in which the novelists either proudly proclaim it or weave the word into their background: “historian.” It’s become something of a magical word, and not just because it was the title of one of my favorite books: Elizabeth Kostova’s The Historian.  (That book mixed digging for obscure historical facts in quiet libraries with…Dracula!)

I’ve never made this claim for myself because I believe I lack the necessary credentials…don’t I?

Let’s take a look at the description in Merriam Webster: 1. “a student or writer of history; especially: one who produces a scholarly synthesis.  2.: a writer of compiler of a chronicle.”

Another definition: “historian: an expert in or student of history, especially that of a particular period, geographical region, or social phenomenon.”

OK. I studied history for my bachelor’s degree at the University of Michigan. After I “broke the curve” of a test given in the early 20th century American history class taught by Professor Sidney Fine, himself a nationally known historian and a Guggenheim Fellow, Professor Fine invited me to his Ann Arbor house. He offered me lemonade and we drank it on his elegant wooden porch as he suggested that I pursue a master’s degree in history. I realize now that this was it: the secret handshake, the door opening to the chamber in which dwelled historians.

But I didn’t pass through the door. I was eager to launch myself on the world of work, not remain at the university, pursuing another degree. (I know: Nuts!)

Without advanced degrees in history, one cannot claim to be a historian. At least, that’s what I’ve always assumed. If you read those definitions above one more time, they don’t specify any sort of degree. Still, I shy away from putting this word on my website, bio, book jacket or facebook page. Just doesn’t seem right.

Here’s the experience I do offer readers of my work:

Journalist—at newspapers and then at magazines, I learned on the job how to assess facts, assimilate information and structure a story. I’ve always had an image in my mind of being trained by a historian—a distinguished older man, bearded of course (looking like Professor Fine!), leans over a student at work on the thick table, chiding, “No! Can’t you tell that those are discredited documents? What am I going to do with you??” But I do seek accuracy and practice skepticism. In my years in media, if I made a mistake it did more than earn the disfavor of the bearded professor. It could lead to a printed correction and maybe the boot!

Working as a reporter also made me rather…assertive. When I was frustrated with my research on The Crown, trying to find elusive details about being confined in the 1530s in the Tower of London, I decided to go to the source. I used the “contact” email on the website for the Tower and didn’t stop bothering them until they referred me to someone with access to documents. I’ve since worked my way through two curatorial interns. One emailed me a PDF of Edward Seymour’s diet sheet while he was imprisoned, another pulled together every contemporary fact about the beheading on Tower Hill of Thomas Cromwell. (Don’t let anyone tell you he died at Tyburn!)

History lover—I did like my study of history at the University of Michigan. But since I was 11 years old I have loved reading on my own about centuries past, primarily stories set in Europe and, of course, Tudor England. I pored over every biography I could find on Catherine of Aragon, Henry VIII, Anne Boleyn, Mary I and Elizabeth I. The historical fiction that first captured my heart was written by Norah Lofts, Jean Plaidy, Mary Stewart and Anya Seton. Later on, I devoured Mary Renault, Robert Graves, Margaret George, Bernard Cornwell, C.W. Gortner, Kate Quinn, Patricia Bracewell and Mary Sharratt.

Storyteller– As a writer of narrative nonfiction for 20 years, I learned a great deal from my editors on clarity, pacing and the need for the right descriptive detail. I’ve tried to pass these lessons on to the writers I edit too. I also wrote three screenplays before beginning The Crown, and learned from teachers such as screenwriter Max Adams how to write visually and describe characters with the right evocative phrase.

I always wonder what other historical novelists feel about the “historian” question. For this blog post, I decided to ask a few. (Remember, I am assertive!)

Erika Robuck, author of fantastic historical fiction like Hemingway’s Girl and The House of Hawthorne, says, “"I think an historian is an expert in a time period or culture, and holds a degree to support that level of expertise. I am an enthusiast, not an historian.”

Eva Stachniak, who has written two of my favorite historical novels, The Winter Palace and Empress of the Night, says, “As a writer of historical novels, I have to know my history, in and out, understand it on many levels, political, social, cultural. I have to be able to imagine how everyday life was lived at the time when my novel is set. For my two Catherine the Great novels, I studied the life of the Russian court, not just its politics, but also its everyday routines. I researched spies and spying, dressmaking, bookbinding, medical procedures and the ins and outs of 18th century renovations. Does it make me a historian? I am not convinced. But it makes me a student of history. It makes me re-imagine the exiting research in a creative way. However, even if I make no claims to being a historian, I claim my passion for history and my ability to make it seem alive for my readers.”

My friend Sophie Perinot, author of Sister Queens and Medicis Daughter: A Novel of Marguerite de Valois (pub date: December 2015), has thought about this question even more than I have. She had some fascinating things to say:

“I am not a historian, despite having a BA in history—at least when I have my novelist hat on—because my work isn’t driven by history, or entirely limited by it.

“I've had to give serious thought to the line between what I call 'H'istory (academic history) and history as portrayed by novelists. I've discussed the subject in a pair of lectures given to university history students during their unit on the uses of undergraduate history degrees after graduation. And I think most historical novelists grapple with the "who is a historian" question because Historical Fiction is undeniably a pop culture way that people today consume history, and those of us who write it are keenly aware that lots of fans blur the line between NON-FICTION HISTORY and the FICTIONALIZED HISTORY OF HISTORICAL NOVELS.

“Let me start by saying that I have a background in history having graduated with a BA in that subject—but I don’t write BIG “H” history, nor, in my opinion does any other writer in my genre. Professors write BIG H academic history ( I have a sister who is a professor of history so I have tremendous respect for academic historians)

“Why do I say this? Well first and foremost a novelist's work is not driven by the overt goal of educating readers on a particular period or by presenting an overview of a historical issue or time. The historical novelist's work is driven by considerations of plot and theme—by the desire to tell a universal story that is set in the past but transcends it.

“So, I am not a historian, at least when I have my novelist hat on, because my work isn’t driven by history, or entirely limited by it. BUT if I write first rate historical fiction – and I’d like to think I do – then in telling my story I want to be true to historical facts as we know them. Good historical novelists use the same sorts of resources that students of history would use to write an academic paper—JSTOR, scholarly journal articles, primary sources, and secondary sources (biographies, prior histories).”

I hope that when you read my historical thrillers, or the fiction by Erika Robuck, Eva Stachniak or Sophie Perinot, you’ll relish not just the story but the awareness that we take our history very seriously—even if we don’t call ourselves historians.

Of that, I think, even Professor Fine would approve.

Tuesday, June 2, 2015

A Book Review on

I'm very pleased that Sister Margaret Kerry, who I "met" on twitter, reviewed my novels on What higher honor could there be--that a real-life nun reviews books revolving around a fictional nun?

Here's what she says:

"After I read The Crown (which won the Best Historical Mystery Award in 2013) I watched the PBS television series Wolf Hall. I’m glad I did. With the first of Nancy Bilyeau’s acclaimed books as a Catholic guide, along with Robert Bolt’s A Man for All Seasons, I was able to sort out the myopic elements in Wolf Hall. Catholicism in Wolf Hall is seen through the eyes of Thomas Cromwell. He is infamous for beginning the destruction of monasteries and religious communities in England. Henry VIII got needed loot for England’s coffers; Cromwell was able to forward his agenda for a more Protestant England. The Crown, first in a series by Bilyeau, is an inside view of this time of historic upheaval though the eyes of a Dominican novice. She wears a medal of Thomas รก Becket and knows of Thomas More’s allegiance to the Church, “I die the good King’s servant, but God’s first.” This quote, one of my favorites, was left out ofWolf Hall..."

Sister Margaret has been a Daughter of St. Paul for 40 years. She proclaims the gospel in all sorts of ways, writing books and conducting workshops on media literacy. She's great on Twitter!

To read her full review, go to

Monday, June 1, 2015

June 'Romantic Times' Reviews 'THE TAPESTRY'

I was thrilled to receive the RT Reviews Award for Best Historical Mystery for THE CHALICE last year. Obviously, RT Reviews is aces with me!

I'm pleased to share the June issue's review of THE TAPESTRY:

"This final book in the Joanna Stafford series brings more mystery, danger and intrigue in Tudor England. Readers familiar with the story of Henry VIII and his many wives will recognize some of the events. However, Bilyeau gives us more. She provides historical detail of conditions in England and Europe and treats us to lesser-known possibilities and motives for the tragic events that unfold. Bilyeau creates a fascinating framework for this story of a popular historical period..."

To read the full review, go here.