I tend to navigate by indirection, meaning that most of the major things in my life have happened when I've been thinking about something else.
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One of our fundamental human needs is finding our partner that we hope we will stay with for the rest of our lives. You often find the same search in other genres. The mystery novel has a romance subplot. Literary novels often focus on that relationship but do not often end well.
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Ever since reading Jean Plaidy's 'Queen in Waiting,' I've felt deep admiration for Caroline of Ansbach.
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I couldn't make myself write serious; I was surrounded by serious: in monographs, in articles, in my own dissertation prospectus, in the very earnest e-mails of students telling me just why that paper couldn't be in on time, cross their hearts and hope to get an A-minus.
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When I was 6, a family friend gave me E.L. Konigsburg's 'A Proud Taste for Scarlet and Miniver' and launched me on a full-blown Eleanor obsession. I wanted to ride off on Crusade, to launch a thousand troubadour songs, to marry a king - and then jilt him and marry another.
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I went to grad school with the grand plan of getting my Ph.D. and writing weighty, Tudor-Stuart-set historical fiction - from which I emerged with a law degree and a series of light-hearted historical romances about flower-named spies during the Napoleonic wars.
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My books fall in the wobbly middle between historical fiction and historical romance.
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I'm not sure that teaching a Core course is necessarily the best introduction to teaching.
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I've been typed as historical fiction, historical women's fiction, historical mystery, historical chick lit, historical romance - all for the same book.
