Review of The Scribe's Daughter
After I reminded readers yesterday that the book drawing for Priscilla Royal’s new mystery, The Proud Sinner, is still going on, several people thanked me, saying they had not known about it. So from now until I put up my interview with Margaret George on March 7th, I am going to mention this frequently for the benefit of readers who have not visited my blog or Facebook pages recently.
And for the benefit of those who have not read Stephanie Churchill’s excellent historical fantasy novel, The Scribe’s Daughter, here is an eloquent review of that book by one of her fellow historical fantasy novelists, Mary Anne Yarde. Reviews are very good ways for us to get a sense of what a book is about and to decide if we think it is one we’d like to read. Mary Anne and I agree that The Scribe’s Daughter is definitely in that category!
http://maryanneyarde.blogspot.com/201...
And for the benefit of those who have not read Stephanie Churchill’s excellent historical fantasy novel, The Scribe’s Daughter, here is an eloquent review of that book by one of her fellow historical fantasy novelists, Mary Anne Yarde. Reviews are very good ways for us to get a sense of what a book is about and to decide if we think it is one we’d like to read. Mary Anne and I agree that The Scribe’s Daughter is definitely in that category!
http://maryanneyarde.blogspot.com/201...
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That's an interesting observation, Iset. I hadn't noticed it before, but you might be on to something! I can honestly say no one recommended the book's title to me. It was the result of a laborious process of finding something to get at the heart of the book's story and the seed of the plot. Actually the title of this book is highly symbolic, the meaning of which gets explained in the last couple of pages. The follow up book (which will be published later this year) follows the same theme and reasoning. I can't speak for other authors, but this is where my book's title comes from. It would be interesting to know if, as you suggest, there is market analysis done on titles and trends and what sells.
Sorry, Iset, I have no idea about this. Hey, I am still trying to figure out that odd headless woman trend. I was going to explain the significance of the title of The Scribe's Daughter but Stephanie beat me to it. As she explained, the symbolism is important in this one and its sequel. With respect to the other titles you cited, Iset, if you are correct about this, it is possible that these titles were suggested by the writers' publishers.
Stephanie wrote: "That's an interesting observation, Iset. I hadn't noticed it before, but you might be on to something! I can honestly say no one recommended the book's title to me. It was the result of a laborious..."Thanks Stephanie and Sharon. Good to know. I do indeed suspect that many of these titles have been suggested by the publisher rather than the author - I think there's a point where a trend like this gathers pace and the marketing department is eager to jump onboard. Just like the 'headless woman' covers (thankfully fading away now!) and the boom in Tudor fiction a few years ago.
I notice these titles in straight historical fiction and Medieval and Renaissance more than anywhere else. My best guess is that it had its genesis in historical romances, because I see a lot of lighter historicals of the fluffier kind seem to use this sort of title even more - it would make sense there to define a protagonist's relationships in the title. From there it could have spread to main historical fiction because it sounds a bit obscure and mysterious, almost dodging the question of who the protagonist is themselves, and also, of course, in history there often weren't job titles for women. Women simply did all the jobs that needed to be done without getting paid or officially recognised as being a craftsperson.
Still - mental note to self - I remain determined to avoid the trend should I ever title a book!
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Now, I suspect a lot of authors currently are being told to do it in order to get in on the trend. But I must admit I find myself a little irritated at whoever came up with it. It started about the same time as the 'headless woman' cover picture started and I wonder if it's connected. Why must we define strong historical female characters by their relationship to a man? Can't we have titles that describe the women themslves rather than the men they are related to? After all they are the protagonist!
Just out of curiosity, Sharon have you heard anything about the reasons behind this trend in the historical writing and publishing community?