Author Interview with Pulitzer Prize Finalist S.C. Gwynne of Hymns of the Republic

 

 

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From the New York Times bestselling, celebrated, and award-winning author of Empire of the Summer Moon and Rebel Yell comes the spellbinding, epic account of the dramatic conclusion of the Civil War.

The fourth and final year of the Civil War offers one of that era’s most compelling narratives, defining the nation and one of history’s great turning points. Now, S.C. Gwynne’s Hymns of the Republic addresses the time Ulysses S. Grant arrives to take command of all Union armies in March 1864 to the surrender of Robert E. Lee at Appomattox a year later. Gwynne breathes new life into the epic battle between Lee and Grant; the advent of 180,000 black soldiers in the Union army; William Tecumseh Sherman’s March to the Sea; the rise of Clara Barton; the election of 1864 (which Lincoln nearly lost); the wild and violent guerrilla war in Missouri; and the dramatic final events of the war, including the surrender at Appomattox and the murder of Abraham Lincoln.

Hymns of the Republic offers angles and insights on the war that will surprise many readers. Robert E. Lee, known as a great general and southern hero, is presented here as a man dealing with frustration, failure, and loss. Ulysses S. Grant is known for his prowess as a field commander, but in the final year of the war he largely fails at that. His most amazing accomplishments actually began the moment he stopped fighting. William Tecumseh Sherman, Gwynne argues, was a lousy general, but probably the single most brilliant man in the war. We also meet a different Clara Barton, one of the greatest and most compelling characters, who redefined the idea of medical care in wartime. And proper attention is paid to the role played by large numbers of black union soldiers—most of them former slaves. They changed the war and forced the South to come up with a plan to use its own black soldiers.

Popular history at its best, from Pulitzer Prize finalist S.C. Gwynne, Hymns of the Republic reveals the creation that arose from destruction in this thrilling read.

 

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Interview with S. C. Gwynne,

Author of Hymns of the Republic

 

  • How did you develop a love for history?

 

The first history books I loved were the Cornelius Ryan works about World War II: The Longest Day and A Bridge Too Far. I also loved the Bruce Catton books about the Civil War, starting with A Stillness at Appomattox and This Hallowed Ground. Note the war theme. These books taught me what history could do. I had two great professors at Princeton—Stephen Cohen (Soviet history) and Robert Darnton (history of the French revolution)—who really inspired me.

 

 

  • What’s the significance behind the title, Hymns of the Republic? 

 

The title is a play on “Battle Hymn of the Republic,” that Bible-based, blood-drenched, sword-themed song of divine triumph that the northern soldiers liked to sing. I meant to suggest other “hymns,” in a more metaphorical sense, that were sung by the various constituencies of the war. (Black soldiers actually had their own battle hymn!)

 

 

  • What drew you to write about the final year of the civil war?

 

A few years ago I wrote a biography of Stonewall Jackson, entitled Rebel Yell, that ended with his death in May 1863 and thus covered roughly the first two years of the war. When I was researching the last year of the conflict, I was struck by how much more violent, desperate, brutal, and vengeful the war had become. This was the product of many things, including the progressive destruction of southern property, southern industry, and southern wealth; the staggering body counts from the Grant-Lee fight in Virginia; the anti-civilian warfare of William T. Sherman and Phil Sheridan; the rise of the prisoner of war camps; the rise of a bitter guerrilla war; and the presence of 180,000 black soldiers in the northern army, which drove Confederate soldiers to unprecedented acts of violence. I wanted to try to convey how deeply the war had changed, and the final year gave me a mechanism by which to do that.

 

 

  • Do you follow a certain process for writing nonfiction?

 

For this book I did about a year of background reading, then proceeded to research and write each chapter as I went along. I always travel to the places I am writing about. The research/writing ratio was probably 60-40.

 

 

  • How do you take facts from history, or story that’s already been told, and turn it into a compelling narrative?

 

Characters are always the drivers of compelling narratives. So I start with interesting characters and do as much reading as I can in their memoirs, letters, and other documents, as well as other primary sources of the era. With a character like Grant, about whom much has been written, I just try to look for a particular angle that other historians haver not pursued. The difference lies less in the facts themselves than in how I analyze those facts.

 

 

  • If you had an opportunity to change anything about the civil war, would you?

 

That is a very hard question. Assuming that the war had to happen, I guess that the single worst piece of news for the nation, and for its future, was the assassination of Lincoln. So I would save Lincoln.

 

 

  • How do you think the final year of the war shaped us as a nation today?

 

Again, tough question! You can pick up virtually any major newspaper these days and immediately grasp the fact that the United States of America has not solved its problems with race. One can argue that it hasn’t even come to terms with them. Our nation has always been deeply divided. More than twenty percent of the residents of the American colonies were loyal to the English king. I grew up in the 1960s, a time when the nation was badly split over the Vietnam War. There were race riots in the streets, riots at the Democratic convention. In 2019 we are deeply divided. The Civil War was the worst split of all. 750,000 men died because Americans could not agree on questions related to race and the future of the country. I actually take a positive lesson from this. I think you can read about the war and understand 1) that we are by nature divided, sometimes violently; and 2) that in spite of these problems we always manage to muddle through. Democracy is messy, and often violent, but the republic stands. 

 

 

 

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About the Author:

S.C. Gwynne is the author of Hymns of the Republic: The Story of the Final Year of the American Civil War and the New York Times bestsellers Rebel Yell and Empire of the Summer Moon, which was a finalist for the Pulitzer Prize and the National Book Critics Circle Award. He spent most of his career as a journalist, including stints with Time as bureau chief, national correspondent, and senior editor, and with Texas Monthly as executive editor. He lives in Austin, Texas, with his wife. For more information, please visit https://scgwynne.com

 

 

 

 

Thrillerfest 2019 Inside Stories Part 3

 

 

IT’S TELEVISION TUESDAY

 

 

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Thrillerfest 2019 Inside Stories Part 3 (The Self Publishing Show, episode 186)

 

 

 

 

Thrillerwriters.org

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Thrillerfest 2019 Inside Stories Part 2 (The Self Publishing Show, episode 185)

 

IT’S TELEVISION TUESDAY

 

 

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Thrillerfest 2019 Inside Stories Part 2 (The Self Publishing Show, episode 185)

 

 

 

 

Thrillerwriters.org

Selfpublishingformula.com

 

 

 

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Writing Romance: The Importance of Rapid Release with Rosalind James

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Writing Romance: The Importance of Rapid Release (The Self Publishing Show, episode 180)

 

 

 

Show Notes

  • Why write romance novels about rugby?
  • Writing a first novel in her 50s
  • Changing to a new series to keep the writing interesting for the writer
  • The importance of character development and tone
  • What is it that your books offer readers, other than plot?
  • The importance of knowing your ‘why’

 

Full Transcript

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Writing Memoir And Marketing Under A New Author Pen Name With Toby Neal

IT’S TELEVISION TUESDAY

 

 

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Writing Memoir And Marketing Under A New Author Pen Name With Toby Neal

 

 

 

 

 

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Toby Neal was raised on Kauai in Hawaii. She wrote and illustrated her first story at age 5. After initially majoring in journalism, she eventually settled on mental health as a career and loves her work, saying, “I’m endlessly fascinated with people’s stories.”

Toby credits her counseling background in adding depth to her characters–from the villains to Lei Texeira, the courageous and vulnerable heroine in the Lei Crime Series, to the wounds and psychological implications of the heroes of the Scorch Series.

 

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The Importance of Setting in Historical Fiction

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I had opportunity to interview some great historical mystery writers, asking them about the importance of setting; Denise Domning, Lee Strauss, and Rhys Bowen. Here’s what they said…

 

From Denise Domning author of The Servant of the Crown series.

 

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How important is setting in historical fiction versus the setting in other genres?

I can’t say that setting is any more or less important to historical fiction than any other genre as every genre has its conventions. What makes or breaks a novel is how deft an author is at conveying the expected milieu. In that, historical fiction can be unforgiving. Readers who love this genre already know their history. Beware the author who doesn’t check her facts for she will suffer the slings and arrows of critics who remind her that sycamores are an American tree and potatoes come from the New World. For the record, neither of those were my errors but I have heard from readers protesting facts that in other genres would be deemed unworthy of comment.

In historical fiction it’s not enough to be comfortable with the details of your chosen time period. You also have to get that information from your brain through your fingers and into the book in a way that doesn’t stop the flow. For me that requires writing out all the details I think I’ll need for a particular scene, say a meal in a merchant’s house. How many tables are there and how are they set? What’s on the floor? Where are the windows, if there are windows? Is there a newfangled chimney or is there a central hearth? What colors/designs are painted on the walls? What

furniture might there be besides the tables? Is there crockery? How does it smell? What sounds fill the air from nearby homes or their own workshops? Are they close enough to hear the bells from the nearest church? Are there regraters outside in the street selling goods? Is the neighboring merchant shouting out to passers-by about his wares?

Once I’ve answered those questions, I go back and tighten, tighten, tighten, eliminating this, shortening that, until there are just enough details to describe the scene without slowing the action. This is very hard to do for someone who writes history textbooks disguised as novels to educate unsuspecting readers. I want to share every cool fact I’ve learned. To protect my readers, I employ this mantra: “If I love it, take it out.”

 

 

From Lee Strauss author of the Ginger Gold and Higgins & Hawke mystery series.  

 

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*How important is the setting in historical mysteries?

I would say very. The historical backdrop is almost like a character in itself. Readers love the details and historical trivia. Otherwise, you might as well stick to a contemporary setting.

 

 

From  Rhys Bowen author of the Royal Spyness mystery series.

 

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How important is setting for historical fiction writers?

Rhys: for me setting drives many of my stories. NAUGHTY IN NICE. TIME OF FOG AND FIRE. Etc etc

And it’s important to get every detail right. I read biographies, accounts of battles, diaries, study old maps.

 

Rhys Bowen

Lee Strauss

Denise Domning

 

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Book Marketing: Voice Search For Authors With Miral Sattar

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Book Marketing: Voice Search For Authors With Miral Sattar

 

 

 

 

www.thecreativepenn.com

 

 

 

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Interview with Historical Fiction Author Leila McGrath

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Interview with Leila McGrath

 

How did you get interested in history?

My interest must have begun in college, when a professor made history more interesting by telling stories which made past heroes real. Since then, I’ve learned that “truth is stranger than fiction”, and am regularly surprised by the limitless things that can happen in life. I also feel that great people of the past deserve to be remembered, and that we can learn from their lessons and mistakes. History is our connection with our ancestors, a continuation of life from our beginnings to our present to our future.

 

 

What fascinates you about the history of Ireland?

Ireland is one of the lesser-known, yet most fascinating places in the world. My interest began when I discovered my Irish ancestry, and with my first trip to Ireland I was so hooked, I felt more at home than in New York. Irish history is culturally rich, and archeologists are discovering sites and artifacts older and more advanced than the pyramids.

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What’s your creative approach to writing a novel?

I never know where inspiration will come from. I was planning my first book to be about German immigrants in NYC, but on a bus tour in Dublin, our plans were changed from seeing Dublin Castle to seeing Christchurch Cathedral. That day changed my life. Visiting a place as old as the Vikings, feeling medieval tiles beneath my feet, and exploring the underground crypt gave me my first connection with ancient times. From then on, I decided to write about Ireland. I have been inspired by the most unexpected things, like fishing villages, plants, abandoned islands, and even an insane asylum in Wales (which I frequented as a visitor, I might add).

 

How has your writing process changed over the years?

I used to write from the seat of my pants, but found that subsequent editing required too many drafts, and plot and character fixing. Now I take my time—months–developing an inspiring idea, drawing an outline and doing research until I feel I really know my story and characters. That way, there are no major snags in the plot. Planning definitely shows in the development of the story, and the reader can tell.

 

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How do you write the historical tone of Ireland into your writing?

Historical wording is something I’ve experimented with in various ways for the past few years. At first, I wanted the language to be as modern as possible, as I was addressing a modern reader, and wanted more than just historical readers to enjoy my books. Then I went more literary, striving for heightened language, but found the readers weren’t as fond of that. Now I’m returning to simpler language (with occasionally sprinkled historical words) with a more engaging plot. As far as historical Irish elements, I generally try to make the characters speak with the grammar and vernacular of the culture, as well as using cultural items and situations of the time.

 

What’s the historical context of Dingle Ireland, 1579?

Ireland of the sixteenth century was under the rule of Elizabeth I, who was fighting a war with Spain. Therefore, Dingle, a busy port, was subject to British rule, Spanish interference, and smuggling, as well as destruction by local Irish warriors fighting against Elizabeth and among themselves. My book talks about the struggle of Ireland’s “Black Earl”, who fought Elizabeth and his relatives to maintain the estate which had been in his family for centuries, a fight which resulted in Dingle being burned a few times.

 

 

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What are some fun facts from your research that aren’t in the book.

Studying about Dingle revealed interesting facts about struggles from other time periods as well, such as the potato famine’s effect on the town, which brought the establishment of the notorious workhouses, as well as the battle at Smerwick Harbour, where Irish soldiers were decimated by the English. The most fun part of research is always the travel. Dingle is the most magical place in the world. A road winds along cliff-laden coasts where one can catch unexpected views of ancient ringforts, famine cottages, Celtic runes, and the abandoned Blasket Islands. There are few untouched places in the world, but because of an Irish tradition to respect what remains, old sites are not taken down.

 

 

Who is Englishwoman Norma Le Blanc and what is she dealing with?

Norma is a fictional character who believes her religiousness makes her superior to everyone, but a carefree, Spanish smuggler who arrives poses the greatest challenge to her ideas. Norma is lonely without her family, who live in England, and finds companionship in Vicente, despite their differences, until she realizes she’s in love. They both have something to learn from one another, as Vicente struggles with his mother’s wish to maintain faith in a God, when it seems as if God has failed him. Through their relationship, Norma learns humility, while Vicente regains his ability to believe.

 

What did you enjoy most in writing The Smuggler’s visit?

Finishing it? Ha! I always enjoy writing, and every book is different, but the first draft was most enjoyable with this one. Because my outline was established, I went off to a cabin in upstate NY and typed away to my heart’s content, finishing the first draft in two weeks. The editing process took much longer.

 

What were the most challenging aspects?

Finding detailed information about Dingle’s history was a challenge. Irish history isn’t as well-published as in other countries, and much of the Dingle info was in books or documents in their local library. Thanks to a local historian, I was able to get what I needed.

 

 

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Do you have a favorite quote?

I collect them and have so many! But I came across this the other day, by Einstein: “Failure is just success in progress.” I think that’s a good thing for us to remember, every time we challenge ourselves to do better.

 

 

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Interview with Janice Cantore Author of the Line of Duty Series

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JANICE CANTORE

 

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Janice Cantore is a police officer turned writer. She retired from the Long Beach (California) Police Department after twenty-two years—sixteen in uniform, six as a noncareer employee. She is currently writing romantic suspense for Tyndale House, and her newest release, Lethal Target, second in the Line of Duty series, following Crisis Shot, is set in a small town in Oregon.

 

 

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Police Chief Tess O’Rourke thought she’d taken care of her small town’s drug problem last year. But now Rogue’s Hollow residents are up in arms over a contentious vote on legalizing the sale of marijuana within city limits. And when an eighteen-year-old is found dead of a possible overdose, Tess wonders if the local pot farms might be involved and begins to fear that a new, deadlier drug supply chain has cropped up. As tempers flare and emotions boil over, Tess faces the possibility of losing the town’s support.

With her relationship to Sergeant Steve Logan on shaky ground, Tess could really use a friend, and she feels drawn to Pastor Oliver Macpherson’s quiet presence. But the anger she holds over her father’s death prevents her from embracing his faith and finding peace.

Battling storms within and without, Tess is shocked when a familiar face from her past shows up in town to stir up more trouble. And his threats against Tess may prove lethal.

 

 

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INTERVIEW

 

What led you to apply to the police department? 

 

I had just earned a degree in physical education and I was looking for a career that would challenge me. I didn’t want to teach, and I didn’t want to be locked inside. I do like to help people, so law enforcement seemed a good choice.

 

*Where did you develop your sense of justice, and did that play a role in your applying for law enforcement?

 

My stories are always faith based, and so I would have to say that my sense of justice comes from my faith. I don’t like to see the weak or the innocent exploited or hurt. When I was a police officer, the best part of the job was stopping a bad person from hurting an innocent person.

 

 

“If you want peace work for justice.” -Pope Paul VI

 

 

*Did you ever think you’d be author one day?

 

When I was a kid I wrote horse books, and I did want to be writer. But my father didn’t think I could make a living at it, so I chose a different career path in college. The desire to write never went away. After working the Rodney King riots, which truly impacted me, I started to write about experiences at work. That led to my imagination taking over, I started asking the “what if” question and novels were born.

 

*How would you define justice?

 

Fairness, accountability, bad people being punished for doing bad things, and the innocent and weaker individuals being protected.

 

 

 

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*In the Line of Duty, Cold Case, and Pacific Justice series, is there a certain underlying theme?

 

In Pacific Coast Justice, the theme that wove through all the books was forgiveness. Woven through the series was the story of Carly and Nick, the restoration of their marriage as Carly learned to forgive. In the Cold Case series, it was justice, catching the killer that had evaded the law for years. Abby’s parent’s killer had gone free for thirty years. And in Line of Duty, after Tess’s shooting, it was about recognizing that God is sovereign and trusting him even when things go terribly wrong.

 

*Who is Tess O’Rourke and what motivates her?

 

Tess is the daughter of a police officer who was killed in the line of duty. She has the goal of becoming the first female chief of police in Long Beach. But when she is involved in a controversial shooting, her life is turned upside down. The story becomes one of redemption, faith, and community. Tess is motivated by justice, doing what is right and being the best officer she can be to honor her father’s memory.

 

*What’s your experience like writing the Line of duty series versus the others you’ve written?

 

The writing process for me is the same, asking the “what if” questions. But Line of Duty is set in a very rural area, in stark contrast to where I worked in Long Beach. I made up my own town and police department. It was great fun. I really wanted to develop a small town and the sense of community.

 

*Your newest book is Lethal Target. Name the most challenging things during the writing process. 

 

The most challenging part of any novel is the writing the end. I always have a hard time writing the end, making sure it’s plausible and satisfying for the reader.

 

*What’s next for you?

 

Cold Aim, the last book in the Line of Duty series, It finishes up the story of Tess and Oliver. Now, I’m working on a proposal for a new book and a new series.

 

 

 

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Available now for pre-order. Out July 19, 2019.

 

 

 

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Writer Tony Harrison Discusses his Work in Progress

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What is your approach to writing? Outline, spontaneous, or both?

I’m a little of both. I’ll jot down random thoughts at first, then piece them together in the order I think works best. Most are just one-liners, that become the basis for full-blown scenes or character POV’s.

 

Where does your story take place?

I actually have two ebooks out, with first one taking place in Aberdeen Scotland, along with snippets in Glasgow Scotland, Belfast Northern Ireland and Dublin Ireland. The other takes place in Marseille France, with snippets in Algiers, Algeria and Morocco.

 

Name your biggest struggles writing this book.

Maintaining consistency in time. Sometimes it is between morning, noon and night, while others is something happening on one day and jumping two days later.

 

What has been helpful to you?

Community and friends, both locally and via the web. HAving someone help me understand the subtle nuances in dialogue, setting and the treaded ‘showing v. telling’ is really helpful.

 

What have you learned in your writing journey thus far?

Each day brings a new challange; whether it is creating better dialogue, making my character’s more ‘believable’ or simply stringing the sentences together, it’s all a learning process.

 

Does your book feature a central protagonist?


Yes, Scotland Yard Chief Inspector Conor McDermott is the main character in the story. A former Royal Navy officer, he is assigned a case that began in Portsmouth when a dock worker who was killed is found.

 

How do you get to know your characters?

Having Conor as a police officer aligns with my grandfather’s brother who was a constable in Edinburgh. I also have two older cousin’s who are members of law enforcement, so Conor is a tribute to them in a small way.

 

What’s the overarching goal of the hero?

Conor is out to find out how his niece was drugged, which led to her death (she jumped from an apartment rooftop). He also looks to redeem himself as his tendency is to bend certain rules in pursuit of catching criminals.

 

 

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Thanks Tony!