Sharon Kay Penman 2007-07-07
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In this episode of the Poisoned Pen Podcast, host Barbara Peters interviews historical novelist Sharon K. Penman, who transitions from her acclaimed historical fiction to mystery writing with her new series featuring Justin De Quincey, the Queen's Man. Penman discusses her deep fascination with Richard III, her revisionist portrayal of the monarch, and the personal journey behind her groundbreaking novel *The Sun in Splendor*, including the traumatic loss of a 500-page manuscript that set her back for six years. She reflects on her research process, moving to York and Wales to immerse herself in the settings of her novels, and how her characters—particularly Eleanor of Aquitaine and her illegitimate son Justin—become central to both historical authenticity and narrative intrigue. The conversation also explores medieval social dynamics, the role of women in power, clerical celibacy, and the unique challenges of crafting historical mysteries without modern forensic tools. Penman praises her long-time editor Marian Wood and the enduring legacy of historical truth in storytelling, while teasing her upcoming mystery *Dragon Slayer*, which will reintroduce a character from her earlier work. The episode concludes with a bridge to the next guest, Daniel Woodrell, linked by their shared publisher and editor. Key takeaways include: 1) Historical fiction can serve as a powerful vehicle for re-examining misunderstood figures like Richard III; 2) The loss of a manuscript can be creatively transformative, not just a setback; 3) Characters like Eleanor of Aquitaine and Justin De Quincey embody the tension between personal loyalty and political duty; 4) Medieval mysteries rely on psychological insight and period-specific clues rather than forensic science; 5) A strong editorial partnership is essential for long-form historical storytelling; 6) The historical mystery genre remains a vital space for classic detective structures; 7) Authorial planning—like giving Justin knowledge of Welsh—enhances narrative cohesion across a series; 8) The Middle Ages had complex social norms, including the concept of 'hearthmates,' which challenge modern assumptions about medieval morality.
Historical fiction can reframe misunderstood figures like Richard III through rigorous research and narrative empathy.
The loss of a manuscript can be a creative catalyst, forcing deep reflection and eventual renewal of inspiration.
Characters like Eleanor of Aquitaine and Justin De Quincey embody the tension between personal loyalty and political duty.
Medieval mysteries rely on psychological insight and period-specific clues rather than forensic science.
A strong editorial partnership is essential for long-form historical storytelling.
…and 3 more takeaways available in PodZeus
Introduction and Guest Welcome
Barbara Peters introduces Sharon K. Penman as the featured guest, welcoming her to the Poisoned Pen Podcast and setting the stage for a conversation about her transition from historical fiction to mystery writing.
Motivation for Writing Mystery
Penman discusses her desire to change pace after completing the demanding *When Christ and His Saints Slept*, her love of mysteries, and the natural evolution into writing crime fiction.
Richard III and Historical Revisionism
“I think Richard was the last Plantagenet too and he was certainly, I think one of history's more maligned monarchs. Oh, you do? Most definitely. My Richard is a revisionist Richard. He's not Shakespeare's bottled spider, not by a long shot.”
The Lost Manuscript and Creative Resilience
“I found that the loss was so traumatic that I couldn't write again. I would try periodically, but it was as if the well had gone totally dry and I wasn't able to actually start writing seriously again for almost six years.”
Research, Setting, and Character Evolution
“Chloéline Abiodaworth promptly hijacked the book. Stole it out from under John's nose and it ended up becoming more his story than John's.”
“I think Richard was the last Plantagenet too and he was certainly, I think one of history's more maligned monarchs. Oh, you do? Most definitely. My Richard is a revisionist Richard. He's not Shakespeare's bottled spider, not by a long shot.”
“I mean, that was just insane unless there was a very strong motivation for it and The following month Eleanor then gave birth to John alone at Beaumont Palace which is on the outskirts of Oxford and I've often wondered if Eleanor's problems with John didn't begin with those very painful memories for her”
“I found that the loss was so traumatic that I couldn't write again. I would try periodically, but it was as if the well had gone totally dry and I wasn't able to actually start writing seriously again for almost six years.”
Host
Guest
Sharon K. Penman
person
Richard III
person
Barbara Peters
person
Eleanor of Aquitaine
person
Justin De Quincey
person
The Sun in Splendor
book
John
person
Marian Wood
person
Here Be Dragons
book
Henry II
person
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