Helena Schrader's Historical Fiction

Dr. Helena P. Schrader is the winner of more than 20 literary accolades. For a complete list of her awards see: http://helenapschrader.com

Helena is represented by Laurie Blum Guest at the Re-Naissance Agency.

For readers tired of clichés and cartoons, award-winning novelist Helena P. Schrader offers nuanced insight to historical events and figures based on sound research and an understanding of human nature. Her complex and engaging characters bring history back to life as a means to better understand ourselves.

Friday, June 29, 2018

Rebels Against Tyranny: Civil War in the Crusader States

Few historical novels have been written about the crusades of the 13th century -- much less life in the crusader states at this period. Yet the baronial revolt against Emperoror Frederick II is one of the most exciting and  “modern” episodes in the medieval history of the Holy Land. 
The landscape is about to close! 
Coming later this year:

The Sixth Crusade, if mentioned at all in literature today, is usually condensed to the bloodless return of Jerusalem to Christian control. The inherent flaws in Frederick II’s treaty ― the short duration of the truce, the prohibitions on Christian fortifications, the legal impediments to the treaty ― are ignored or glossed over. Likewise, Frederick II is commonly likely to be portrayed as a monarch ahead of his time, even as a “genius,” or a man of “exceptional tolerance," without acknowledging ― or while outright disparaging ― those who considered him a tyrant.   

From the 15th to the early 20th century, popular adulation of absolutism and central authority transformed Frederick into the embodiment of “good government;” the fact that he ran roughshod over the law and arbitrarily exercised his authority was largely ignored or justified. Contempt for feudalism (a dogma of the Enlightenment) and hatred of the papacy (a dogma of the Reformation) combined to discredit Frederick’s opponents in the eyes of historians. Particularly German scholars of the 19th and early 20th century sought to create a glorious “German Emperor” to incarnate all the Germanic virtues then in vogue. Frederick II has long since been lost behind the legends created about him.

While Frederick's struggle with the papacy is legendary, his defeat at the hands of his own barons in the crusader kingdoms of Jerusalem and Cyprus is familiar only to historians of the 13thcentury Latin East. Yet the history of the baronial revolt against Federick II Hohenstaufen offers all the ingredients of first-rate historical fiction. On the one side there is the legendary and colorful Emperor ― the man who called himself “the Wonder of the World” ― and on the other side a cast of rebels, who are also scholars and intellectuals, poets and patrons of the arts.  

Emperor Frederick II was opposed by a coalition of barons, who left an impressive legacy of intellectual accomplishments. They were the authors of histories, poetry, and works of philosophy, although they are most famous today for their outstanding contributions to medieval jurisprudence.  The renowned crusades historian Jonathan Riley-Smith goes so far as to claim: “Perhaps the greatest monument to the western settlers in Palestine, finer even than the cathedrals and castles still dominating the landscape, is the law-book of John of Jaffa, which…is one of the great works of thirteenth-century thought.” (Riley-Smith, Johnathan. The Feudal Nobility and the Kingdom of Jerusalem 1174 – 1277. Macmillan Press, 1973, p. 230.)

Furthermore, the issues at stake remain relevant today: how much central power is necessary for the good of a state? Does “raison d’etat” justify dishonor and treachery? When does a citizen have the right to defend himself against tyranny?  At what point is forgiveness and reconciliation the wisest action ― regardless of the crimes committed? When is trust constructive ― and when is it dangerously naïve?

Watch for the release of Rebels Against Tyranny this fall! 

Meanwhile, enjoy my novels set in the Holy Land in the 12th Century.

For readers tired of clichés and cartoons, award-winning novelist Helena P. Schrader offers nuanced insight into historical events and figures based on sound research and an understanding of human nature. Her complex and engaging characters bring history back to life as a means to better understand ourselves.

 Buy now!                                       Buy now!                                          Buy now!

Friday, June 22, 2018

Cover Reveal: Rebels against Tyrrany

This week, the first book in my new series went to the publisher. 
It seemed like a good opportunity to “reveal” the cover to future readers and discuss the process of cover design.

Covers can kill – novels, I mean. Nothing, studies have shown, is more influential in enticing a potential reader to pick up a book while browsing in a bookstore than an “attractive” cover – and nothing is more likely to put a potential reader off than a “bad” cover.  A good cover will attract readers that would never buy the book based on subject, title or author, and a bad cover will make the very people who would love a particular book scorn it.  Covers matter!

But -- aside from "attractive" being highly subjective -- being “attractive” isn’t enough. 

Beautiful -- but would it sell books?

A cover that is “attractive” (even in the advertising sense of the word) may get a browsing reader to read the cover blurb, but if the picture has nothing to do with the content, they are likely to put the book down again. There is no point having a vampire or a half-naked woman on the cover of your book if the book isn’t about vampires or beautiful women in sexual situations.

When I first started publishing novels, I let the publisher design the cover, thinking they were the professionals and they would understand the market much better than I.

Big mistake.

When it comes to historical fiction, it is vitally important to immediately evoke the time period of a novel because you discredit yourself instantly if you get it wrong. Publishers, however, are not historians. They don’t know the difference between 11th and 16th-century armor, or between a Spitfire and a Piper Cub.
Crusaders in plate armor? I don't think so!

So I now “design” my own covers, by which I mean I select the overall thematic components, and then hire a professional graphic designer to do the fine work essential to make the image look as good as anything a major publishing house can produce.

Most "advice" I have read about selecting cover says: "look what everyone else in your genre is doing and copy them." Well, if I write what everyone else is writing and don't have anything new to add, then that the way my covers should indeed be designed. As a reader, if I see another cover with actors in period costumes with their heads cut off, I will feel nauseous and certainly NOT buy the book precisely because the cover looks like the last 13 million books that have been published.

As someone who values creativity in writing, I also value creative covers. I do not want my covers to look like every other historical fiction book that has been dumped on the market over the last 10 years. So, no headless actors in period costumes. No empty helmets. No cartoon characters leaning on their swords. (Why any self-respecting knight would blunt his sword tip by driving it into the ground and then leaning on it is beyond my low brain capacity.)

I wanted images that would look realistic yet could be composed to reflect the content. For the Jerusalem Trilogy, I also wanted the reader to get progressively closer to the main character. On the cover of the first book, Knight of Jerusalem, Balian is shown from the back quart and his face is mostly hidden by his helmet, while Jerusalem dominates the picture. In the second book, Defender of Jerusalem, he is charging at the reader, but still obscured by his helmet while Jerusalem is more distant, receding. In the third book, Envoy of Jerusalem, the reader finally sees Balian head on and Jerusalem is lost. Instead, Balian separates the antagonists Saladin and Richard the Lionheart, while the Christian captives being driven into slavery form the background.

With the Last Crusader Kingdom, I sought to juxtapose Frankish secular power (represented by a castle) with Greek ecclesiastical power (represented by a Greek Orthodox church), and between them the symbol of change ― a fresh wind blowing ― in the form of a sailing ship bearing the crosses of Ibelin.

Now, however, I wanted a sharp change in style to signal that this is a new series, not just a continuation of the previous books (even if there is some overlap in characters!).

I wanted to connect with the period in which the book is set, the 13th century, by using images that remind the reader of the wonderfully evocative, colorful and often whimsical manuscript illustrations of the Middle Ages.  


Indeed, I initially looked for real manuscript illustrations that might reflect the contents of the book. I experimented with using one of these, but the effect was something entirely too violent. (I also subsequently changed the title.)

So I ended up asking my amazing graphic designer to develop an “illumination” that was completely original. This had to show knights jousting (an important element of the plot) and it had to show an Ibelin taking on an Imperial knight (symbolical of their overall stance rather than an event), but it also had to hint at the love-story that is also an important aspect of this book.  All without being too cluttered! The result:

The back cover, on the other hand, is devoted entirely to the relationship between the two main characters. Here's the back cover image without the text.

Next week I will open the cover to tell you more about the content of the novel. You can help me chose the back cover blurb, however, by taking part in a survey at: https://www.facebook.com/HelenaPSchrader/

 Meanwhile, enjoy my published novels:

 Buy now!                                       Buy now!                                          Buy now!

Friday, June 15, 2018

Defining Chivalry

Modern discussions about whether “chivalry is dead” often revolve around whether men should open doors for women. Yet such discussion demonstrates just how little is known and understood about the concept of chivalry today. 

To be sure, chivalry defied definition even in the centuries where it was the dominant ethos of educated classes in Western Europe. The biographer of William Marshal, one of the most famous knights of the late 12th and early 13th century, a man who was often held up as a perfect chivalrous knight, himself asked: “what is chivalry?” 
His answer:

So strong a thing,
and of such hardihood,
and so costly in learning,
that a wicked man or low
dare not undertake it.

In this entry, I’d like to review what we do know about chivalry and the extent to which it influenced medieval society.

Chivalry evolved out of the military and literary traditions of antiquity and emerged at the beginning of the High Middle Ages as a concept that rapidly came to dominate the ethos and identity of the nobility. Chivalry is inextricably tied to knighthood, a phenomenon distinct to Europe in the Middle Ages. There have been cavalrymen in many different ages and societies, but the cult of knighthood, including a special dubbing ceremony and a code of ethics, exists only in the Age of Chivalry -- roughly 1000 - 1450.

Chivalry was always an ideal. It defined the way a knight was supposed to behave. No one in the Middle Ages seriously expected every knight to live up that ideal, much less all of the time. Even the heroes of chivalric romances usually fell short of the ideal at least some of the time – and many only achieved their goal and glory when they overcame their baser instincts or their natural shortcomings to live, however briefly, like “perfect, gentle knights.”

In other words, chivalry was a code of behavior that young men were supposed to aspire to – not already have. The code was articulated and passed on to youths in the form of romances and poems lionizing the chivalrous deeds of fictional heroes. It was also recorded in the biographies of historical personages viewed as examples of chivalry, from William Marshal to Geoffrey de Charney and Edward, the Black Prince. Finally, there were a number of textbooks or handbooks that attempted to codify the essence of chivalry.

So what defined chivalry? First and foremost, a knight was supposed to uphold justice by protecting the weak, particularly widows, orphans, and the Church. He was also supposed to be upon a permanent quest for honor and glory, sometimes translated as “nobility.” The troubadours, meanwhile, had introduced for the first time the notion that “a man could become nobler through love.” Thus love for a lady became a central – if not the central – concept of chivalry, particularly in literature.

The chivalric notion of love was that it must be mutual, voluntary, and exclusive – on both sides. It could occur between husband and wife – and many of the romances such as Erec et Enide and Yvain, The Knight with the Lion by Chrétien de Troyes or Wolfram von Eschenbach’s Parzival revolve in part or in whole around the love of a married couple. But the tradition of the troubadours did put love for another man’s wife on an equal footing with love for one’s own – provided the lady returned the sentiment. The most famous of all adulterous lovers in the age of chivalry were, of course, Lancelot and Guinevere, closely followed by Tristan and Iseult.

In more practical terms, one of the handbooks on chivalry written by the Spanish nobleman Ramon Lull lists the virtues of a knight as nobility, loyalty, honor, righteousness, prowess (courage), love, courtesy, diligence, cleanliness, generosity, sobriety, and perseverance. Wolfram von Eschenbach in Parzifal, on the other hand, stresses a strong sense of right and wrong, compassion for the unfortunate, generosity, kindness, humility, mercy, courtesy (particularly to ladies), and cleanliness.

Geoffrey de Charney, the French hero from the Hundred Years’ War, also wrote a handbook on chivalry that is particularly valuable because he was a man with a powerful reputation as a chivalrous knight. (He was killed at the Battle of Poitiers defending the French battle standard, the oriflamme.) Charney puts the emphasis on love as a spur to great deeds and stresses that a knight must love “loyally” (with exclusive devotion to his one true love), but includes good manners, generosity, humility, fortitude, and courage among the qualities of chivalry as well. As a reflection of his career, Charney places greater value on fighting – stressing its hardships, deprivations, and risks – over frivolous tournaments.

William Marshal’s biographer, on the other hand, writing in the early 13th century, sees in tournaments a means of giving men a chance to demonstrate their “worth” – i.e., their courage, audacity, and skill at arms. These are the skills, combined with unwavering loyalty to his liege, that enable Marshal to rise from landless knight to regent of England. While Marshal (or at least his biographer) put the emphasis on courage, the themes of courtesy and discretion with respect to ladies, and generosity, are also present.

Readers interested in learning more about this fascinating concept can turn to:


Barber, Richard W. The Knight and Chivalry. The Boydell Press, 1970, 1974, 1995.

Duby, George. 1985. William Marshal: The Flower of Chivalry. Random House, 1985.

Hopkins, Andrea. Knights: The Complete Story of the Age of Chivalry, from Historical Fact to Tales of Romance and Poetry. Quarto Publishing, 1990.

and many other sources!

For readers tired of clichés and cartoons, award-winning novelist Helena P. Schrader offers nuanced insight into historical events and figures based on sound research and an understanding of human nature. Her complex and engaging characters bring history back to life as a means to better understand ourselves.

 Buy now!                                       Buy now!                                          Buy now!