…. Congratulations to Indigene! An e-mail will be sent to you with information for claiming your copy of Vicky Alvear Shecter’s CLEOPATRA’S MOON. I know you’re going to enjoy this wonderful novel!

In other notes, it is snowing—SNOWING!—in Brooklyn this afternoon. Below is a view taken during my walk to the new house. This is the earliest snow I can remember in my twenty-plus years of living here. Is a long winter upon us?

I’m so excited that my amazingly talented and cool cousin Vicky Alvear Shecter is my guest for today’s Creativity Friday. Vicky is not only the author of two nonfiction books, ALEXANDER ROCKS THE WORLD and CLEOPATRA RULES, but also a novelist. Her first novel CLEOPATRA’S MOON (Arthur A. Levine Books) has recently been published to rapturous reviews from The Wall Street Journal, EW.com, Publisher’s Weekly and many other venues. From the L.A. Times review:

Eyes ringed with kohl, her lithe body draped in a tunic, Cleopatra VII has been memorialized ad nauseam in numerous art forms, from paintings and opera to film and a seemingly endless string of books. The reason is simple: The last queen of Egypt was an exotic blend of power and beauty whose brief life came to a tragic end when she committed suicide with the help of an asp. Now her only daughter, Cleopatra Selene, is getting the historical fiction treatment in a beautiful new novel for young adults….”

Whenever Vicky and I get together for family gatherings (alas, she lives in Atlanta; I live in Brooklyn, so it’s not often enough) I love talking about writing and publishing with her. She’s smart, funny, and wise as well as totally inspiring. Last time she was in New York, our conversation swerved from Dante and Beatrice to literary agents to gothic doubling in JANE EYRE. Oh, and we also kvelled about our daughters—but that’s to be expected, right?

With National Novel Writing Month beginning November 1st, I asked Vicky if she had any advice to share. In her post, she suggests how to reframe NaNoWriMo so it’ll work for your writing goals. But wait, there’s more: we also have a giveaway of CLEOPATRA’S MOON to one lucky blog commenter. Information on how to enter below!

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With NanoWriMo just around the corner, I must confess: I couldn’t do it. I tried, I really did. Several times. I’m amazed at writers like Kris who can do this, and do it well. [Note from Kris: "Do it well"—well, that's a matter of opinion. ] I’m especially eager to read The Lily Maid which I know she jump-started with NanoWriMo.

It took me a while, though, to learn to reframe my inability to “do” NanoWriMo and see it, not as a failure, but as an acceptance of my individual process. It forced me to pay attention to how I worked, which was very valuable. What I discovered was that scenes “unfold” in my mind—almost like mini-movies—which I then write down, editing as I go.

No amount of forcing or staring at a blank screen can “make” these cinematic scenes appear. They do not come to me on demand. Instead, they often percolate up while I’m walking. So when I’m moving, I’m usually “writing” and when I’m writing, it’s thanks to the walking. (Sometimes driving too, but I probably shouldn’t admit that.)

Learning about and accepting my process gave me the freedom to really sink into the sensory experiences of my scenes, which I found very important in writing historical fiction. Beyond “seeing” the scene, I wanted to feel it, hear it, smell it and taste it.

So, for example, when I had my protagonist, a young Cleopatra Selene, meet with the Priestess of Isis, I wanted to capture the entire experience sensorially—hearing the droning chants of priests and jingling of sacred sistrums; tasting the tangy-yeasty bite of ritual Egyptian beer; smelling the metallic-sweet scent of blood from a sacrifice; seeing the Priestess painting a magical symbol in the sand with a blood-smeared brush and so on.

I love historical fiction for its ability to take me to another place and time, so I wanted to evoke that sense for my readers as well.

So if you are preparing for NanoWriMo, good luck. But if you discover that it doesn’t work for you, don’t despair. Turn it into an opportunity to examine what DOES work for you and then…well, do THAT!

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Vicky is generously giving away one copy of CLEOPATRA’S MOON. To enter, leave a comment here by midnight EST October 28; for a second entry, tweet or FB this link. Winner will be chosen by random and announced on this blog on Saturday October 29th. Sorry, US and Canada mailing addresses only.

More about the book: CLEOPATRA’S MOON is about the only surviving child of Cleopatra VII and Mark Antony. Based on real events and individuals in history, it tells the story of a young woman determined to carve her own future after the tragic loss of everything she’s ever known and everyone she’s ever loved.

First off, congratulations to Sally! You’ve won a copy of Joanna Powell Colbert’s luminous Gaian Tarot. Sally wrote:

What a beautiful deck. It’s great to read about the creative process behind it.”

I heartily agree. I loved the Gaian Tarot’s compassionate and expansive view of humanity—how embracing it is of all cultures and experiences. The art is truly lovely too. I especially thought the accompanying guide book was wonderfully written and very well organized. I’m finding Joanna’s tarot philosophy to be similar to mine, especially in regards to viewing the numbered minors as organic developments of a suit’s energy.

Sally, an e-mail has been sent to you with information for claiming your prize. And many thanks to Joanna for sharing her wisdom and creativity with us on my blog! As I mentioned in my interview with Joanna last week, the Gaian Tarot is now available as a trade publication from Llewellyn Worldwide as well as in a limited edition format. To learn more and try an online reading, visit the Gaian Tarot website.

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In other news, I was fortunate to attend the 11th annual National Book Festival last week. The National Book Festival is organized and hosted by the Library of Congress in Washington D.C. With over one hundred stellar authors participating, it’s a veritable harvest of publishing goodness. I was fortunate not only to attend the very glamorous opening reception (which was held in the stunning Great Hall of the Thomas Jefferson building), but to also hear some of my favorite authors speak about their books: Dave Eggers, Toni Morrison, Sarah Vowell, Gregory Maguire, and others.

Recent Pulitzer Prize winner Jennifer Egan (A VISIT FROM THE GOON SQUAD) was especially inspiring on the subject of writing fiction, a subject very dear to my heart—her words really resonated with me. Here’s a few of the many things she shared during her nearly hour-long talk. Bear in mind these are a bit paraphrased from my hastily scribbled notes:

On her reasons for writing: “Everyone advises you should ‘write what you know.’ Why do that? I write to escape to another dimension.”

On plotting a novel: “My subconscious is way smarter than I am. Writing is how I access the unconscious part of myself. I trust it to reveal the story.”

On writing A VISIT FROM THE GOON SQUAD: “To tell this story, I had to use different narrative structures. I’ll do whatever it takes to tell a story.”

On a related note, here are the three rules she ultimately decided upon to structure GOON SQUAD:

1. Each chapter had to be about a separate character.

2. Each chapter had to have a different setting.

3. Each chapter had to stand alone as a story.

On the wisdom of story: “The story itself leads you to the place you need to go.”

On fiction: “The job of fiction is to raise questions.”

After hearing Ms. Egan speak, I was inspired to deviate from my LILY MAID-related “all-Victorian-all-the-time” reading list to read A VISIT FROM THE GOON SQUAD. It’s really wonderful—a true tour de force of narrative structure and extremely memorable characters. It swerves dazzlingly in time from the San Francisco punk rock scene of the early 1980s into the present; and finally into a future New York City strangled by social media and global warming. While some have derided the chapter composed in PowerPoint as a gimmick, I thought it worked well.

I know there has been discussion whether GOON SQUAD is a novel or a clever collection of interlocked short stories. To my mind, it’s both. While each story stands on its own (as Egan intended), there’s a sense of elegiac loss permeating the book that ties everything together novelistically. Ultimately, GOOD SQUAD is a bittersweet Proustian meditation on the ravages of time. Highly recommended.

One little-known fact about me: I am a book query goddess. (And modest too. ) I’ve helped several authors rock their queries and opening pages to get that all-important agent interest. So if you’ve ever wanted help with your’s, you’re in luck: I’m happy to announce I’ve donated a first chapter and query critique of a literary or historical novel to Read for Relief.

What is Read for Relief? It’s a writing community to aid victims of Hurricane Irene. Besides myself, there are numerous goodies on offer—everything from book packages to full manuscript reads and beyond. Living here in Brooklyn, we were very lucky that Irene only sideswiped us. But many were not so fortunate. So I hope you’ll go forth and bid!

In other news, to commemorate the release of the Goddess Tarot Android app, a contest to win a free Goddess Tarot app and THE BOOK OF GODDESSES e-book is taking place here. To enter, head over to Deb’s blog to learn more. Please feel free to share—and have a great weekend!

1. My cousin Vicky Alvear Shecter’s book CLEOPATRA’S MOON was just published by Arthur Levine Books. CLEOPATRA’S MOON is a young adult historical fiction novel about the only surviving child of Cleopatra VII and Mark Antony. Based on real events and individuals in history, it tells the story of a young woman determined to carve her own future after the tragic loss of everything she’s ever known and everyone she’s ever loved. It’s garnering some much-deserved rave reviews:

“This novel has romance, drama, heartbreak, and adventure…Shecter writes about the world of ancient Egypt and Rome with wonderful detail, making it come alive…A fantastic read with some valuable history.” — School Library Journal

“Fascinating historical novel…Cleopatra Selene proves a stalwart heroine, and the novel’s atmospheric setting and romantic intrigue are highly memorable.”—
Publishers Weekly

“The historical context and characters are well drawn…makes for intriguing storytelling…a romantic and exciting story.” —
Kirkus

2. The trade edition of Joanna Powell Colbert’s long-awaited Gaian Tarot is finally available from Llewellyn Worldwide. Joanna created the Gaian Tarot to speak directly to the hearts of those who practice an earth-centered spirituality. Though the deck has been available as a collector’s limited edition, I’m pleased that the Gaian will now be available to the world at large. I know how many years Joanna has worked on this project—a real labor of love.

3. Finally, Susanne Dunlap, author of IN THE SHADOW OF THE LAMP, THE MUSICIAN’S DAUGHTER and other wonderful historical fiction novels, has branched into iPhone development with several colleagues. Their WordWit app from Ballpoint, Inc. pairs misused words with their evil twins, explains them clearly, and provides entertaining examples from literature and the media. It’s also beautifully designed. A delicious mixture of reference app and game app, WordWit will get people interacting with words in a whole new way. I was fortunate to try the app in beta format—fun and totally addictive. Download WordWit from the App Store.

Congratulations to everyone! But wait, there’s more: In September, I’ll be interviewing Vicky and Joanna about their newest publications. I’m really looking forward to learning more about their creative processes. Plus there will be giveaways of CLEOPATRA’S MOON and the GAIAN TAROT courtesy of Scholastic Books and Llewellyn Worldwide.

I’m back from my writer’s retreat, which was semi-successful in that I made healthy inroads into what I planned for it. My intent was to write and complete a novel “bible”* for THE LILY MAID. My agent set this task for me during our last meeting, thinking it would help clear up some character motivation issues. As usual, she was right. But little did I realize that such a project requires more than three days’ concentrated labor—I managed to set up the document formatting and begin writing the first third. Even as such, the document came to well over 25,000 words!

As usual, I was too ambitious in thinking that I’d work 24/7 since I’d be without distractions and interruptions. The reality is that writing a novel bible is hard. So distractions were needed to clear my head.

The top photograph is the view from my hotel room from where I spent my writer’s retreat. Below is what I saw on a walk outside my hotel—daffodils everywhere surrounded by wildness stung by sea water. Beautiful!

And yet, if I turned my head toward another direction, here was my view.

Monster uber-resort. Atlantic City, baby. It’s all how you frame it.

For the record, I didn’t play even a single slot machine. Gambling makes me feel queasy—publishing is high stakes enough for me. But the hotel had an amazing spa, which helped to stoke the creative muses. After all, inspiration likes fire and water and heat.

As for finishing my novel bible, I’ve set up a schedule for the rest of it. It’s going to take me probably another week or so—maybe longer. Yikes!

On a totally unrelated note, congratulations to those who won copies of Stephanie Cowell’s CLAUDE AND CAMILLE! I’ve sent each winner an e-mail with instructions on how to claim your prize. I hope you enjoy it! This generous giveaway was courtesy of Crown Books.

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*I’ll write more about what’s involved in creating a novel bible next week.

Last year, I interviewed acclaimed novelist Stephanie Cowell about her book CLAUDE AND CAMILLE, which relates the little known story of Claude Monet’s first wife, Camille Doncieux. Good news: CLAUDE AND CAMILLE is now available in paperback with a gorgeous new cover—and we’re giving away five copies of it. (Rules and more below.)

Besides CLAUDE AND CAMILLE, Stephanie’s other best-selling novels include MARRYING MOZART and THE PLAYERS. She is currently writing a novel about Elizabeth Barrett Browning. Here’s an excerpt from last year’s wonderfully inspiring interview:

KW: CLAUDE & CAMILLE is quite the delectable tearjerker — Camille is such a quicksilver, tragic muse of a character! What was the hardest part about writing about her? What did you find most compelling? Most difficult?

SC: Camille was the most difficult character in the book and the last to develop into a full, complex character. In an early version she was just a sweet young thing from a poverty background, but when I learned her background was upper-class it made a difference. When I was in my early 20’s I knew a few girls, one who kept lying because she wanted to appear fascinating and then didn’t know truth from fiction and a few (me too) who threw away good homes to live in poverty and wash diapers by hand, feeling we were among the genuine people. My editor kept coaxing Camille from me during the editorial stage and she just grew into something we both didn’t expect. Her terror of growing older, her secret letters to an unknown man…that sort of all came to flower (so to speak) towards the end of the writing process.

KW: One of the things I loved about CLAUDE & CAMILLE is the visceral sense of nineteenth century Paris you’ve evoked — the artists’ gatherings with their rough red wine, the scrounging for oil paint, the renting of model’s clothing, and so on. It’s all very La Bohéme. Can you describe your research process? How long did it take? Do you research before you begin to write?

SC: Research takes place before, during and then after in a way. You keep adding things. I love to find bits of daily life and stick them in. I guess I was researching the whole time. Various biographers had different opinions of the characters, and of Camille herself there was very little known at all. I worked with old photographs and paintings and many books. I walked the streets of Paris where Claude had walked and I went to Giverny….

You can read the rest of the interview here.

As I mentioned above, the good people at Crown Books has generously given us five copies of the paperback edition of CLAUDE & CAMILLE to give away. (Not one. Not two. But five!) To win one, simply leave a comment by midnight, April 14, 2011. It’s that simple. However, if you want to spice it up with a recommendation for a novel you recently read and enjoyed, I’ll give you a second entry. I’m always interested to hear what others are reading!

The small print: Only one comment per person. Book can only be shipped to U.S. or Canadian mailing address. Winner will be chosen at random and announced here April 15th. Good luck to all!

So, you might be wondering, where have I been since June 18th? (Yup, this blog has been dark for that long!) The short answer: I finished my novel THE LILY MAID. The amount of work involved was all encompassing—the final draft came to 113,000 words or 392 pages. The manuscript was handed into my literary agent Monday. Hopefully she’ll like it! So far, she’s only read a synopsis of it.

Since finishing the manuscript, I’ve been engaging in lots of staring at walls and all around decompression and trying not to obsess about What’s Next. Writing THE LILY MAID has been one of the more intense creative experiences of my life. For now, it’s good to have a break to let the creative wells refill before I embark on further book revisions and other projects.

It’s perfect timing that my guest for today’s Creativity Friday is an author who’s been through the novel-writing experience twice—Catherine Delors. She’s generously agreed to answer some of my questions about her creative process. I originally “met” Catherine when my book DOOMED QUEENS was published and she interviewed me on her wonderful blog Versailles and More. I’m thrilled to host her in return.

The focus of my interview today is Catherine’s just-released novel, FOR THE KING (Dutton Books). FOR THE KING takes readers through the dark alleys and glittering salons of post-revolutionary Paris. It is a romantic thriller, a tale of love, betrayal and redemption. On Christmas Eve 1800, a bomb explores along Bonaparte’s route, narrowly missing him but striking dozens of bystanders. Chief Inspector Roch Miquel, a young policeman with a bright future and a beautiful mistress, must arrest the assassins before they attack again. Complicating Miquel’s investigation are the maneuverings of his superior, the redoubtable Fouché, the indiscretions of his own father, a former Jacobin, and two intriguing women. (Full disclosure: I worked with Catherine to create the book video for FOR THE KING. You can watch it on YouTube here.)

We’re giving away a copy of it to one lucky blog commenter. Rules are posted after the interview.

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Kris Waldherr: One of the things which has most impressed me about FOR THE KING is the amazing amount of historical detail you interweave within it. It’s quite astonishing! Your late father was a history professor. I can’t help but wonder about your own research methodology—was it influenced by him? How do you approach researching your novels? Do you do a lot of research in archives?

Catherine Delors: Thank you, Kris! Fortunately, my father lived long enough for us to discuss on many occasions my first novel, MISTRESS OF THE REVOLUTION, before his death. He always emphasized the importance of researching archives. I now realize how right he was on this point. And I would have loved to discuss FOR THE KING with him, in particular what I discovered about Fouché’s involvement in the Rue Nicaise bombing.

KW: As an author, I find that there are certain types of scenes that I find easier to write, others less so—for example, since I’m also an artist, I can get totally lost in writing visual descriptions! What was your favorite part of FOR THE KING to write? Favorite character to write scenes for? (I assume that would be your protagonist, Roch, but maybe not?)

CD: Well, I write descriptions because I cannot help it, but I much prefer writing dialog. In FOR THE KING, my protagonists, Roch and Blanche, were the most difficult to write. I really had fun with two of my villains, Fouché and Short Francis.

KW: You are French yet your novels are written in English. What are the challenges involved in doing this—especially since you’re writing about French history? Do you have a preference for writing in either language?

CD: I write French legal briefs, but have never penned any fiction in my native language! I should like to do that someday.

KW: Both MISTRESS OF THE REVOLUTION and FOR THE KING are set during volatile periods in history, before and after the French Revolution. Like your fellow historical fiction author Sandra Gulland, French history appears to be your métier. Do you have ever have fantasies of writing about a different historical period or even a different country? If so, what and why?

CD: Oh, yes! My next two projects are firmly rooted in the 18th century, but I have a long-cherished dream of writing about certain medieval historical character. A very important, yet now very obscure man…

KW: MISTRESS OF THE REVOLUTION was your first book; FOR THE KING your second. Did you find it easier the second time around? What are the difficulties of writing a second novel? Did you feel pressured after the wonderful reception of MISTRESS OF THE REVOLUTION?

CD: I found my second novel more difficult to write than the first. I believe it is not an unusual experience. Your first novel has a feeling of innocence about it. You simply go for it. With the second novel, you have learned much about both the craft of writing and the business of publishing. You worry whether the readers who loved your first book will follow you with this one. You wonder whether is it as compelling.

To give you an example, Kris, the initial draft of MISTRESS OF THE REVOLUTION was 315,000 words long. I had no idea of standard word counts at the time. (Editor’s note: Publishers expect historical fiction novels to be 90,000 to 120,000 words in length.) In retrospect I feel the novel was better in its long version (but then I love to read very, very long books myself.) Yet, to be blunt, in the real world a debut novel of this length is not publishable. So I had to cut it down to less than half of its length. Some parts may feel rushed now, especially the beginning. So be it, it was the price to pay to get it published.

So with FOR THE KING I paid much attention to my word count from day one. I did not want to have to cut into the flesh of the novel this time around. When I reached 80,000 words, I knew I had 20,000 words to wind down the story, and I stuck to that limit. It was an excellent exercise in writerly discipline for me, though it made it less of a spontaneous adventure. The upside was that, when it landed into my editor’s inbox, there was no more talk of cutting for the sake of cutting.

I am not moaning about the exigencies of publishing, by the way. Arbitrary material constraints have always ruled the business. English novelists in the 19th century were bound, so to speak, by the three-volume format. This did not prevent them from writing works we still enjoy today, long after the triple-deckers were consigned to the trash heap of publishing history.

KW: This is a question that I ask all my author guests: What advice would you give to writers working on novels (specifically historical fiction)? As the saying goes, hindsight is best sight: What do you wish you knew then that you know now?

CD: The only rule a writer needs to remember is to back up her work as often as possible. The best, most successful novels breach the rules you find in “how to” manuals. Once I completed the manuscript of MISTRESS OF THE REVOLUTION and began querying agents, I followed a well-respected site (no names named) for a few weeks, and believed its information, given in a very authoritative tone. Once I secured my own agent and got to know the real world of publishing, I realized how misleading the information was on that site. Yet I see many unpublished writers trust such self-appointed authorities. My advice: forget about “the rules” and concentrate on your writing.

As for historical novelists, they are no different from other writers, except on one point: they must thoroughly research their subject, and present an accurate version of the past.

KW: Another writing question: One thing you’ve also mentioned to me is the difficulties in finalizing a book ending. I know that you mentioned changing the ending to FOR THE KING. Can you tell us a little bit about that process? Were you happy with the final ending?

CD: No, I was not happy. The initial ending was more dramatic, darker than the one I eventually wrote. FOR THE KING explores some rather unsavory corners of the human soul, of politics, of 1800 Paris.  I felt the novel needed a happy ending of sorts to balance that. It simply felt right, it left things more open. Come to think of it, I only did that in my last rewrite, but misgivings about the ending had been lurking on my mind for a long time.

KW: Your “From Unpublished to Published” is a wonderful resource on your website detailing your journey to publishing MISTRESS OF THE REVOLUTION. I especially appreciate that you included the successful query letter that netted you your agent—a very generous gift. Now that you’re a bit further down the road with FOR THE KING, is there any new advice you’d add to this mix?

CD: Oh yes! Unpublished writers focus a tremendous deal of energy on the dream of publication, rightly so. But they should know this is only a first step in a literary career. The hard work begins AFTER your book is completed and you find a publisher.

KW: I follow you on Twitter. Several months ago, you had mentioned that you have two new books underway, just as I do. (Indeed, we joked that it’s like being pregnant with twins!) Is this still the case? Or has one book “won” out over the other? Can you share with us what these books are about? Will they also take place in French history? What can we look forward to reading next from you?

CD: Yes, we are both pregnant with twins. I am writing the prequel to MISTRESS OF THE REVOLUTION. It too is a historical thriller, the story of a serial killer in the mountains of Auvergne, twenty years before the French Revolution. And I am also working on a book on Jane Austen. The latter requires a tremendous amount of sleuthing in far-ranging archives, so the thriller/prequel will probably be completed first.

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Thank you, Catherine, for this wonderfully inspiring and generous interview! As I mentioned above, Catherine and Dutton Books have offered us a delctable copy of FOR THE KING to raffle off here. To win it, simply leave a comment by midnight, July 29, 2010.

The rules: Only one comment per person. Small print: Book can only be shipped to U.S. or Canadian mailing address. Winner will be chosen at random and announced here July 30.

Good luck to all!

On a related note, we have other author events coming up online and at the gallery. Journalist Sharon Lerner (THE WAR ON MOMS) will visit the gallery June 4th for the next installation of our Authors at the Gallery series. Don’t live in the NYC area? This event will be livestreamed and archived. In July, we’ll have a blog interview and book giveaway with Catherine Delors, author of the upcoming novel FOR THE KING which is already garnering rave reviews. I’m really looking forward to hosting Sharon and Catherine.

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As I mentioned in my previous post, The Novel now has a title, THE LILY MAID. Since it’s set in 1880’s Victorian England during the Aesthetics Movement, I’m having a lot of fun describing the clothes. How did Aesthetic (also known as Artistic) dress differ from the rest of Victorian society? Think of an upholstered sofa and the many permutations they can take on.

You can have this:

Or this:

Now translate these into women’s clothing. Here’s the typical 1880’s Victorian woman’s silhouette, complete with bustle and corset:

And her Aesthetic dress companion:

Costume photographs © Victoria and Albert Museum.

Note the lack of corsets and stays, the loose hair. Imagine how freeing — and transgressive — this must have felt to ladies of that era! They could breathe and move! In many ways Aesthetic clothing was a predecessor to the Rational Dress Society, though the two movements do overlap in time. Interestingly, another inspiration for Aesthetic dress was the Italian Renaissance, which also fed the imagery of the Pre-Raphaelites. Note the high waistline, the drape of the sleeve.

In Victorian England, the foremost purveyors of Aesthetic-style clothing was Liberty & Co, now still in business as Liberty of London. I was deeply amused to recently come across ready-to-wear Liberty of London dresses at Target; I immediately snapped up two of them so I could dress in character as I write. How could I resist?

Here’s a description of Aesthetic dress from THE LILY MAID:

[The gowns] were all cut in the loose, quasi-medieval Aesthetic manner without stays or bustle, like many of the clothes I’d gaped at from afar at Liberty & Co. They were a revelation; I felt as though I could breathe and move unconstrained. Two were decorated with embroidery, mainly of a floral nature. Another bore beading around the necklines and elaborately smocked cuffs. As I viewed myself in the mirror, I felt transformed into another milieu, another class. I felt strange and was mildly embarrassed at my display – I looked more akin to those peacock feathers she kept in a vase than myself.

…. Several ladies ceased their conversation to stare at us. We stared back. Compared to myself and Nessa’s aesthetic-style dress, these women looked like upholstered sofas, tucked and draped and padded from their generous bustles to leg o’ mutton sleeves.”

Next weekend, I’ll be off on a writer’s retreat in an attempt to tie up the remainder of THE LILY MAID’s first draft. I don’t know how successful I’ll be, but I’m excited to try. Wish me luck!

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* This is part of an ongoing occasional series of posts about inspiration for the two books I’m working on right now. The first is THE LILY MAID, a novel. The second book is a nonfiction follow up to DOOMED QUEENS. Read previous posts here, here, and here.

…in Tarot Tips, the official newsletter of The Tarot School. Art and Words is their featured blog for their May 15th issue.

I’m very pleased by this honor! Here’s what was written:

Creator of the Goddess Tarot, The Lovers Tarot, and illustrator of the Anubis Oracle Deck and several new decks on the way, Kris Waldherr is a prolific artist and writer. Her blog and site features her personal journey of the creative process. Very cool for all aspiring authors!”

If you don’t already subscribe to Tarot Tips, you can do so here.

In other news:

~ There’s just one more day to enter Stephanie Cowell’s CLAUDE & CAMILLE book giveaway.

~ Related note: I’ll have reviews of CLAUDE & CAMILLE and DAUGHTERS OF THE WITCHING HILL on this blog in June. They’re both wonderful novels — I highly recommend them!

~ I’m pleased to have worked with C. W. Gortner on the video for his new historical fiction novel, THE CONFESSIONS OF CATHERINE DE MEDICI. It comes out May 25th. Publication day is almost here — congratulations, Christopher! I hope it sells gazillions of copies. (Watch the video on YouTube here.)

~ On the work front, there’s lots going on as usual. My main project right now: I’m hunkered down in an attempt to finally finally finish the first draft of The Novel. Toward that end, I’ll be going away on a writer’s retreat Memorial Day weekend (similar to what I did in January when I went to Montreal). A very generous and kind friend is loaning me her house outside Boston for the weekend. Wish me luck!

~ And The Novel finally has a title: THE LILY MAID. It’s a quote from a poem in Tennyson’s IDYLLS OF THE KING, one of my inspirations for The Novel.