On Losing a Dear Friend

photoFrom the moment I started writing in the early 80s, talking to elderly people has been a very enjoyable part of my writing life. The first person I remember interviewing was a friend of the family of my first boyfriend. I was now a married woman (not to the first boyfriend) and beginning a novel that was later abandoned. From memory she was very interesting to talk to. (Her name escapes me now.) She had grown up in an old log cabin somewhere in the sticks and as a middle aged woman had written parodies of the romantic short stories featured in the Woman’s Day and the Woman’s Weekly at that time. The stories were actually accepted much to her amusement. I can’t remember her name but after our short interview I didn’t see her again.

In late 1982 or early 1983 I interviewed two wonderful WWI soldiers living in a retirement village in Collaroy.  One of them was a veritable minefield and I still have the notes I took from speaking with him. He was a sniper and told me some fascinating details not found in any history books. One interesting fact that concerned soldiers digging in under fire I actually used in my long short story The Running Lady published in Reveille in 1988.

In 2002 I was very lucky to be able to interview many elderly residents of Nelson Bay and Shoal Bay in regards to the US soldiers stationed there during WW2. At one stage I was driving up there once a fortnight to speak to someone about those fascinating times and I was always made to feel welcome. I think they enjoyed talking to me and I definitely enjoyed listening to them, including among many Mrs Blanch and Mrs Norburn.

In January 2010 I came up with the idea for a new novel and almost immediately I decided to set the novel, with the working title of The Grey Silk Purse, in Mayfield. I was unemployed for the first few weeks of that year and I spent a lot of time walking the streets and taking photos of beautiful old houses. I was also doing a lot of research on the net about the history of Mayfield. Two names repeatedly came up – Vera Deacon and Helen Marshall. I contacted Gionni di Gravio, the archivist at Newcastle University and asked him if it was okay to contact both of them. He said yes and told me where they lived.

I didn’t record the date I first rang Helen Marshall but we hit it off immediately and from May 2010 on I saw her quite regularly. I would visit her beautiful home in Elizabeth Street and mercilessly ask her questions. She loved talking about the old Mayfield and she would describe walks she went on with her father. I loved hearing about Mayfield as it was in the 30s and 40s and her memory was prodigious.

On one occasion she helped me map out a walk my character took near Platts Channel. She described in great detail a gate that led into the property of Argyle House (later the Murray Dwyer Orphanage). I explained what my character was doing. Helen described the gate for me, the latch and that there was lantana nearby. She could still remember the smell of the lantana. When I mentioned which way my heroine was walking home – up the steep slope by the side of the property to reach Bull Street – Helen told me that my heroine wouldn’t be opening the gate if she was going that way. I asked why and Helen explained that you only needed to open the gate to walk through the property if you were walking along by the channel. I was astonished that she could remember so much about a gate from around 1933 or so! I said as much and we had a good old laugh.

She also had very detailed memories of Waratah House which her father sketched before it was pulled down. On one of my visits Helen helped me mark out a map of the land near Platts Channel choosing the approximate location of Argyle House, Waratah House, the potteries, the ponds, the wheat field, a well and the dairy. (Not an easy feat with Industrial Drive and extensive industry transforming the landscape.)

Another day we actually designed the garden of the fictional house Summerville in Crebert Street. I still have the sketch in her hand. We also had some lovely talks over the Greg Ray books and an excellent book about the Middle East campaign of WWI. But apart from all this we were the best of friends. She wasn’t just an elderly lady with a fund of knowledge. She was someone that I knew I would have been life long best friends with in a parallel universe. As it was I only had less than three years to have lovely chats with Helen but I valued my time with her. I now miss her terribly.  Her quick wit and her kindness were a joy to me and I know it will take me quite some time to get used to the loss of her friendship. I can still hear her saying happily: “You clever girl!” or “You are devious!” when I explained some plot intricacies in my writing. I know she enjoyed our talks and I definitely did. I’m so grateful that I knew her, if only for a short time.

The Next Big Thing – The Grey Silk Purse

The Grey Silk Purse Notebooks

Here are four of my six notebooks for my current work in progress.

1) What is the working title of your current/next book?
My current work in progress is entitled The Grey Silk Purse and is set in 1917/1918 Serbia and Mayfield, Newcastle in 1920/1930.

2) Where did the idea come from?
Several years ago whilst doing book talks for Tomaree, a bookseller showed me a card advertising a New Year’s Eve party at the Trades Hall, Newcastle for 1930 run by The New Moon Dance Club. Whilst searching for more info about the mysterious club I came across a November, 1922 ad: “Lost yesterday Lady’s handbag between Elizabeth & Henry Streets, Tighes Hill along Port Waratah tramline or left in 6.42pm Port Waratah tram from Newcastle, contains 6 pounds, metal season railway ticket, keys etc. Finder handsomely rewarded on return to Miss Summerville, Room 5, Carrrington Chambers, Watt Street.”
I kept the name Miss Summerville but couldn’t find Carrington Chambers. Somehow I made the jump from there to my current project.

3) What genre does your book fall under?
Historical fiction

4) What actors would you choose to play the part of your characters in a movie rendition?
Strangely I have no idea for this one. I cast Crossing Paths though. The main characters were played (in my head) by Rose Byrne, John Cusack, Rupert Penryn-Jones, Miriam Margoyles and Helen Mirren (in an uncharacteristically timid role).

5) What is the one-sentence synopsis of your book?
It is January 1920 and Miss Summerville living in a beautiful house in Mayfield, Newcastle begins a diary detailing how, after a long illness, she has woken up and can’t remember the last two years of her life.

6) Will your book be self-published or represented by an agency?
I hope to finish the manuscript very soon. (I’m on the second last draft now.) I’m determined to find an agent and a mainstream publisher and that is my goal for 2013.

7) How long did it take you to write the first draft?
Much longer than Tomaree. Approximately two and a half years.

8) What other books would you compare this story to within your genre?
The Winter of the World by Carol Ann Lee
The Soldier’s Song by Alan Monaghan
Armistice by Nick Stafford

9) Who or what inspired you to write this book?
Heroic Australian women from both world wars, including Olive Kelso King, Alice Kitchen, Vivien Bullwinkel and Nancy Wake.

10) What else about the book might pique the reader’s interest?
Hopefully the wonderful Scottish Women’s Hospitals who ran 14 field hospitals during WWI. Many of their doctors, nurses and orderlies were Australian, including Stella Miles Franklin who worked at the Ostrovo Unit in Serbia, the unit featured in The Grey Silk Purse.
I’m now tagging three people to keep this meme going. They are:
Matthew Glenn Ward @ Matthew Glenn Ward
Anthony Wood @ Want For Words
Janna G. Noelle @ The Rules of Engagement
Happy writing!

My twitter community and why they are so important to me.

I went to the #NewyTwistmas party at Honeysuckle Thursday night attended by 60 plus and had a wonderful time meeting fellow peeps, most for the first time. I chatted to so many interesting people, including @CCLETS a dedicated potter, @whereismymuse a poet and @kimcoo and her husband who are relationship counsellors. It is a community that know me as a writer. That’s who I am – @lakelady2282, BookCrosser, author, amateur photographer. I tweet photos and the progress of my WWI novel The Grey Silk Purse. I also tweet/retweet about books, writing and history. That’s me!

To my friends and family, I am something else. With my family I’m mum and grandma. With my girlfriends I’m just a single woman in my fifties complaining about the lack of interesting men. (I have this theory that 75% of the single male population in their forties and fifties have been beamed to another planet and nobody’s noticed. But that’s another story.) My friends know I write but I don’t think they are aware of how much my writing means to me and in that sense they don’t know me.

My twitter people do. My wonderful Crossing Paths publisher @SkiveMagazine knows how important writing is to me and I love tweeting about his mag. The latest edition is an erotica collection so peeps get out there and buy it. Also @drdrdr09 knows. He became aware of how much I was agonising over finding an historically accurate way to get my main character from Le Havre to Salonika, late 1917 (avoiding submarines and nasty Germans). I tweeted in frustration to my twitter community and he stepped into the breach (WWI speak) and we had a fun time tweeting back and forth.

In my “normal” life, I mentioned to my friends the other day that I was having trouble with my epilogue. There was dead silence and then a change of conversation. In all fairness what can most non-writers say to such a statement? Some people would suggest a writing group. After all you get to sit down with “real” people and discuss writing problems but I’ve tried a few groups and they weren’t for me. (I once joined a screenplay writing group and one of the participants said, “I hate writing dialogue. Do you think that will be a problem for me?” She was serious). I didn’t go back.

For me twitter is my writing group, my photography group, my friends group, my “did you hear they found the cave from Island of the Blue Dolphins?” group. It is my arts world in a way that Facebook (that funny other social media with all the thumbs up things) has never been. It is where I’m lakelady2282 and it’s where on Friday morning I tweeted I had lost my job. I didn’t message my friends. I still – as of writing this article – haven’t posted it to Facebook. Without thinking I just tweeted. It was the community that I wanted to tell.

Arthur Streeton and the Battle of Amiens

I love hunting facts down, following paper trails and discovering interesting pieces of information. I mentioned in a previous blog that beginning my second draft of The Grey Silk Purse I had 98 points of research to check – things such as the location of the Niagara Cafe in Newcastle -
http://www.facebook.com/groups/LostNewcastle/permalink/506264069398435/
the weather in London on a December day in 1917, locations in Greece and various birds in the Hunter around 1920 to name some points.

Well I’m down to 10. Yay! and have been working on a very important research point – where my main male character Adrian Langley loses his leg. Before I could choose a location, I needed to choose a battalion for Adrian. I decided that although he is originally from Sydney, he actually joins up with his Mayfield cousins and in early 1917 becomes part of the 35th Battalion “Newcastle’s Own Regiment”.
http://en.wikipedia.org/wiki/35th_Battalion_(Australia)

Immediately the battle of Lena Wood (see picture in link above) caught my eye and with the mention of woods I decided to research the landscape of the Battle of Amiens, August 1918 and quickly found Arthur Streeton’s wonderful painting above. The sight of the painting really changed my thinking and brought with it more questions. Why was the landscape so beautiful and not ravaged? Did Streeton purposely paint an unaffected area of the battle or was this his idealised vision of the pre battle scene? The woods look wonderful, the scenery is green. The whole thing evokes a pleasant summer stroll and that thought led me to recreating AND transforming Adrian’s loss of his leg in a dream. Here is what I wrote inspired by the painting above:

“…Sometimes too the beautiful woods near Amiens loom large in his dreams. Often he is alone, strolling not fighting. August 1918. A summer’s day in northern France. A feeling of peace, contentment and then a sniper parts the green that conceals him and sends an arc of bullets that tears the ground up in front of him, rips Adrian’s right leg apart and slams into his hip and shoulder. It would be better to dream of the way it was but his mind has condensed and transformed the incident until it is almost completely unrecognisable. At least he’s not surrounded by men dying beside him and he is thankful for that. They inhabit the other dreams. Not this one.”

By researching the landscape of Amiens I had found the place where my character loses his leg but it also gave me the opportunity (because of the beauty of the place) to set it against the muddy, soul destroying landscape of a previous battle. Adrian’s most terrible nightmares are from the Battle of Passchendaele where his battalion was bogged down in the mud and only 90 from 508 remained at the end but it is not where he receives wounds (at least not physically) that almost kill him and cripple him for life. Hopefully my future readers will appreciate the irony.

How Many Drafts of Your Novel Should You Do?

My answer is six and that is probably my average. If the book proves problematic then I’ve reached eight but that’s generally my maximum. I’ve heard other writers speak of astronomical numbers such as 18, 27, 34 and even fifty odd.  I immediately think how do they do that many drafts? But me being a suspicious person, when I hear such amazing figures I often wonder what they consider constitutes a draft. Say, maybe a quick adjustment of a few words here and there, a scan and then start again? Is that what they call a draft? Put the thing away for a week or so, pick it up again, flick through, change another paragraph and that’s draft 25 for you? I don’t know of course. I can only tell you what my methods are so here goes…

Draft 1 is obvious of course. That’s where you get the main storyline down including what scenes to put in, what to leave out and from whose point of view. Last Tuesday I completed the first draft of my work in progress The Grey Silk Purse. Strictly speaking it is not a complete first draft. It is missing one final chapter and the epilogue which is a letter. Both I can’t do at this point until I’ve done heaps more research.

And this is where the 2nd draft comes. I will now go back, look up and check 95 # points of research such as the uniform of staff working in a stationery shop in Newcastle in 1920. In my novel Tomaree. In Crossing Paths I actually don’t remember that I had as as many things to check. I managed to do most of my fact-checking as I went along.

Before I generally start writing a novel I have already done a fair amount of research. Whilst writing the first draft I’ll check as many points as I can but when fact checking starts to really slow me down that’s when I put a # in and move on.  With the second round of research I will often have to change the narrative slightly to accommodate facts I have recently discovered. I will also tidy up my prose and check overall length of chapters. Is that scene really necessary kind of thing. With The Grey Silk Purse I have a massive construction problem two thirds of the way through. I will tackle that and will also have to keep a good eye on it in the next draft.

In the 3rd draft I will usually start drilling down, checking my word usage (okay for that particular character or time etc) my paragraphs (are they too long?) I also check how the writing flows. This is a good time to actually really look at any scenes or chapters that still trouble you. Can I do without it altogether or do I need to rewrite? Any extensive rewrites at this stage will have to be checked closely because they will not have been read anywhere near the amount of times of the rest of the work. This is where I often check odd things like the colours of the diaries in The Grey Silk  Purse. There are four different diaries that feature in the manuscript and they are all different colours.  I will probably check the word count of each diary and that I’ve got the colour correct for each one (particularly as these are referenced later in the novel).

It is usually around the 4th draft that I like to print the whole manuscript out and work at it on paper,  pretending I’m a ruthless editor working through page after page, slowly but very carefully. It’s where you really get to see how the manuscript will look in hard copy.

It’s funny how many things you can pick up and fix in this different format.  You’ll find it is very handy when looking at dialogue. I also generally write my edits on the page and then do another draft putting them in to my word document. This will then be the 5th draft.

In this draft I will not only put in my changes but do a global search for a particular word that I think I might have used too much.  (This is why it is a good thing to keep your manuscript all in one document!) I’ve done this with all my novels and it is never the same words that keep cropping up. It is generally different words for different books. When you realise you’ve got 162 “wondered”s you can then push yourself to find alternatives. (In this 900 word essay I have 13 “check/ed/ing”s. Maybe too many but hey this us what this piece is about.)

The 6th draft (if all is going well) is the final read through. It’s a chance to read the manuscript for the umpteenth time.  (Because if you are like me you will often re-read it a lot of times before you even start the second draft).  You can check every word for typing errors and watch out for those slippery little suckers the closing quotation marks which (for me anyway) have a habit of disappearing at a great rate. Are there any missing? Can you find any more typos? Realistically you will not find them all so that’s where a friend can come in handy and do a read through for you. Another pair of eyes will always pick up things you’ve missed. That’s my experience anyway.

And now your baby is ready for an amazing journey. Kiss it goodbye and wish it luck.

The Power of language and using the right words

I can be a ditz sometimes and very vague as my family and friends will tell you. I recently ordered a coffee whilst in the middle of writing a crucial scene. Fifteen minutes later no coffee. I went up to ask if it was coming and they told me it had been put on my table (behind my laptop) around ten minutes ago. Never noticed a thing! And then today two incidents - both hanging on single words - made me stop and really consider how much we actually take in even when we think we aren’t paying attention.

This morning  working on a new chapter I ordered a coffee (1/2 strength latte) and a bottle of water. The young waitress was standing by my table holding a bottle of water and she asked me did I want one cup or two. I answered: ‘Oh, I’ve already ordered my latte.”  She said: ”No, the water.” I replied. “One glass please (as I was by myself). She put one glass down and I thought: Yep, I am a ditz and went back to my writing.

A moment later she moved to the table nearby holding another bottle of water and several glasses and said: “Did you want two cups.” And I realised what had happened. She’s obviously been brought up (although she sounded like a regular Aussie) calling glasses cups for some strange reason. For me a glass is what you put wine, water, soft drinks and liquor in. A cup is what you put tea, coffee and hot chocolate in but that was definitely what she called the glasses.

Move ahead to this evening at Brisbane airport. I have arrived and arrangements have been made for me to catch a connecting bus. On my itinerary is the instruction that when arriving at the airport I must report to the service desk of that company to be booked on the bus. Well I spent fifteen minutes looking for the service desk. There were the usual suspects of hire cars and transport companies but not the company I was looking for. I asked two Virgin employees and they had no idea where it was. I showed them my intinerary – no luck. Finally someone directed me outside and what I thought was a bus shelter for the regular buses was a booth with that company’s name under the roof.

Yes, I know. If I had put my glasses on I might have seen the name from a distance and walked down there but I didn’t because I was actually looking for a service desk which I think to most people’s minds is found inside whereas a booth is often outside. Hence my confusion. That’s language for you!

A lot of the time of course everything goes smoothly and we don’t stop and wonder about such things but when they don’t it’s amazing how the wrong use of language – in both these instances single words – can lead us astray.

As a writer I am very particular about word usage, especially those particular words that signify and are redolent of an era. In Tomaree I spent quite some time checking up “okay”, among other words. (My main character was Amercian.) In researching word usage of WWI for The Grey Silk Purse it is surprising to find that it was common when writing letters and diaries to use “&” for “and”. I’m not sure when that stopped. I mean we still do it occasionally but not as consistently as some diary writers from that time.

All this has brought me back to my writing and the question: Am I chosing the right words – the most effective words – to convey my story and weave a convincing web around my readers? I hope so! What I can safely say is that after today I’ll be extra careful!

Writing Challenges and Passions

When I’m writing two very important things have to be there for everything to fall into place. 1. The writing of the manuscript has to challenge me in some way and 2. I  must be passionate about my subject matter. The Grey Silk Purse is my sixth book and both these things definitely apply. In my earlier novels this wasn’t quite so obvious to me. I was just writing a book! But now after writing prose for thirty years, themes and concerns do become clearer.

With my first novel, just putting my ideas down was enough of a challenge. I mean could I even finish the damn thing let alone write coherently? With my second novel this was even more true because I began writing the enormous (still unpublished second manuscript) when my second child was five months old. I have vivid memories of Elise in a capsule and me struggling to borrow a heap of library books before she screamed the place down. And later of clasping her as a toddler between my legs to stop her from crawling off whilst I desperately tried to finish some photocopying for my research into the Broken Hill Proprietary Co.

With my third manuscript the construction of the novel defeated me (for the moment) but themes were emerging. Themes of loss – loss of place, loss of memory. Of abuse and madness. With my first published book (and fourth manuscript) Tomaree the writing challenge was how to blend the past with the present; how to move smoothly from 1942 to 1972 and back again many times. Luckily the passion kicked in (a passion to raise awareness of the wonderful Australian GI brides who gave up everything for love).

For my last novel Crossing Paths, the challenge was enormous! To create eight very different characters and give them succint personalities. I’m not sure that I succeeded but I gave it a fair old try. And the passion was of course for the wonderful world of BookCrossing.

Now I am facing a new writing challenge and it is quite daunting – to recreate life as an  ambulance driver working in the Macedonian front of 1918; my passion to highlight the wonderful work of the Scottish Women’s Hospitals and other heroic women such as the Australian Olive Kelso King.
Wish me luck!!

On Memory

an island boatrower's hands

One of the things that drives me as a writer, my passion I suppose you could call it, is to recreate the past incorporating memories of those that were there or there through their parents’ recollections. It is very important to me to uncover these personal details that can make the past come alive – because not everything is recorded in history books.

Nine years ago I began interviewing many elderly residents of Port Stephens to help me understand what Nelson Bay was like during WWII for my novel Tomaree. This time I am writing about WWI so I am relying heavily on first hand accounts of people that of course have since died. Luckily, I have though, two helpers who are very much alive: Vera Deacon and Helen Marshall. Both have memories going back to the Thirties and Forties and as Mayfield didn’t change too much from 1920 until about 1935 or so, I am able to use a lot of those memories.

Vera Deacon is an island girl. She grew up on Dempsey and Mosquito islands - islands that no longer exist. (They have been covered in slag and turned into Kooragang Island). As a young woman she was always on the water rowing everywhere, along the channel, between the islands and to work at Mayfield. Her hands can be seen above – boatrower’s hands.

And Helen Marshall (who helped create the Mayfield walks) http://libguides.newcastle.edu.au/content.php?pid=251354&sid=2089250 has a prodigious memory going back to around 1933. Helen has been marvellous in helping  me map out three walks that my main characters Miss Summerville and Adrian Langley take in my novel The Grey Silk Purse. We have had some wonderful discussions about Waratah House and Argyle House, two properties that have been demolished years ago. We have also talked about the colour of Platts Channel, the way a gate faced surrounding Argyle House, also the Black Wharf off Ingall Street and Shelly Beach (both long gone). I only hope I can do her and Vera’s memories justice.

More Heroic Women

Now that my main character has just stepped ashore in England (on the 28th November, 1917) I have switched my research to find out more about the last year of the war. Along the way I have met more heroic women. I am only a third of the way through Women on the Warpath by David Mitchell but within the pages of this book I have already met some wonderful, inspiring women:

The indefatigable Pankhursts who took on Womens Suffrage (of course), the Huns and the Bolsheviks, particularly Sylvia who worked tirelessly for poverty stricken women in the East End of  London, among many other good works. Lady Muriel Paget who formed a hospital unit  that was sent to Russia. Lady Leila Paget who organised a hospital unit in Serbia and liaissed with the Bulgarians to open an emergency clinic in Skopje.
Sarah Macnaughton  who set up a soup kitchen at Furnes in Flanders and Mrs. St Clair Stobart who was the leader of a coloumn through the terrible Serbian Death March of late 1915.

One of my aims in writing The Grey Silk Purse is to highlight what it was like during WWI for women with a driving need to help others. It was a time when women really made a difference. Opportunities arose because of the war and the shortage of men, and these amazing woman and thousands more grabbed life with both hands and achieved startling results.

Trouble with Shipping (and I don’t mean postage)

This is my first blog at wordpress and I’m planning to make regular posts on writing and networking. For previous posts you can catch me on goodreads.

For a month now I’ve been having trouble with my research for my novel The Grey Silk Purse. I need a ship to get my heroine Miss Summerville from Sydney to England departing October 1917. I’ve been through Trove to no avail. I can easily find details of say the RMSS Britannia departing Sydney, 14th December, 1887 with Mr P.S. Tomlin in command and Mr Peter Leverage officiating as purser on the voyage. Easy peasy! But for the year I want - not much else except the troopships and they are listed on the excellent Australian War Memorial webpage.

The penny didn’t drop until I spoke to Francis from the Vaughan Evans Museum at Darling Harbour. She informed me that shipping departures and arrivals were not advertised in the papers during wartime. Obvious now of course but gosh I wish I’d worked that out a few weeks ago, lol. She advised me to try the State Records Office and ancestry.com but it’s still going to be tricky. Hoping to come up with something in the next 36 hours as I’m heading to the Mitchell Library on Monday. Stay tuned.