I’m in a whimsical mood so this is a whimsical post. I’m working out strategies – the best way to reconnect with my characters after a long break. Maybe some of these may help you if you are in the same “boat” and writing an historical novel. This is not the desperation of What to do when you can’t write. No, nothing like that. It’s more like one of us has been on holidays. Say, me. I’m back in town leaving my calling card Debbie Robson, Writer from the 21st century.
There it is on the silver platter. It’s the first, I notice this morning, but will probably soon be buried under an abundance of fancy calling cards because my character is young, very pretty and from one of the wealthiest families in Sydney. And she’s available. Well, her mother and father think she is.
I’m thinking maybe a cooee might help. I have a strong voice that carries. I could cooee across the sandstone mountain range. Way down below are tree ferns, a tinkling waterfall. Look, there are my characters walking along the opposite ridge. Their figures are outlined against the setting sun like an old fashioned travel poster. Soon they will heading back for dinner at The Carrington in Katoomba.
How about a letter? That threatened species that is disappearing as fast as good quality writing paper. “I’m writing to let you know that your best friend Louie is safe and well, in Paris. With Christopher’s help she booked a berth on the SS Osterley. Yes, she’s not even in Sydney. Don’t worry, Sarah. I’ll take care of her.”
In reality (well in the novel) Sarah will be distressed and concerned for her friend and I will leave her in that state for at least a week. Oh, the cruelty of novelists! But don’t worry the manuscript is not called Paris Next Week for nothing.
Actually I’ve decided I’m going to flee as well. I think I’ll catch up with Louie first. Right now I’m on this God awful cruise liner with screaming kids everywhere. Beside me are people with iPhones, iPads and Notebooks taking photos of nothing. I bribe a steward and free of baggage and misconceptions, I step into the small tender that is bobbing in the waves. We are leaving the stacked monstrosity behind. Sunlight is dancing on the water and ahead is the Osterley, dark hulled and very long, quite alien to my eyes. As we get closer I can see women in cloche hats and pencil thin dresses leaning on the rails to call out to me. I smile and call back, thrilled to be leaving the 21st century behind.
I’ve mentioned the paper trail before. It’s something that fascinates me but something I try to avoid when I’m writing. See How to Get Distracted Writing Historical Fiction. Today I am recovering from a small operation and I am not in the mindset to work on my fiction so I do what I normally do when I can’t write for various reasons. I read.
Less than a year ago I discovered crime fiction. Not the crime fiction that most people read but the crime fiction written by women in the 1950s and 1960s. For an historical novelist it is a wonderful world to discover, particularly for someone like me that has hardly ever read mysteries. The storylines are simpler than today’s books (burdened as they are with CSI, multiple plotlines, advanced technology etc). Instead these novels are peopled with interesting heroines and filled with everyday details that have now become historical fact. Think 10 cent jewellery stores and the road to Geneva early evening with not another car to be seen.
I began with Holly Roth (who is still my favourite) and devoured Shadow of a Lady, The Content Assignment, The Mask of Glass and The Sleeper. I was recently in Tasmania visiting the Salamanca Markets and was lucky enough to find a book by Helen McCloy, He Never Came Back, published in 1954 for only $2, (a 1961 green Penguin). I began reading the book and was not distracted until I got to this line on page 51. (A friend of the main character, Sara Dacre, has disappeared and she is worried. She is discussing what has happened with her aunt Caroline and an elderly man).
“It’s like bridge,” said Caroline. “You have to keep everything in your mind at once – past, present, and future. Book murders are more amusing than murders in real life, but, when it comes to disappearances, I don’t think any books have touched the real cases. Lord Bathurst, Marie Celeste, Charlie Ross, Dorothy Arnold. And Judge Crater.”
I knew of Marie Celeste of course and being female was immediately more interested in the disappearance of a woman than a man, so I honed in on Dorothy Arnold in google and came up with this entry in wikipedia. And so the paper trail unwinds and the book is left open at page 51.
It seems Dorothy Harriet Camille Arnold “was an American socialite who disappeared while walking on Fifth Avenue in New York City in December 1910. The circumstances surrounding her disappearance have never been resolved and her fate remains unknown.”
I read the entry and discovered a link to List of people who disappeared mysteriously and of course clicked on it. How many people can resist a link like that, I ask you? Definitely not me. As I’m researching and writing a trilogy set in Paris and Sydney in the 1920s, I clicked on the link to the 1920s and scanned through the names. Among them was Glenn and Bessie Hyde. I already knew about them from a novel I read a number of years ago. And as I type these words I’m off on another paper trail (web search) to find the title of the book. Voila! Grand Ambition by Lisa Michaels. It is an enthralling book and I highly recommend it.
I checked the other names and read about The Lost Battalion. Having recently completed a final edit of a novel set during WWI this was of particular interest. In 1921 Charles Whittlesey 37, “American soldier and Medal of Honor recipient who led the Lost Battalion in World War was last seen on the evening of 26 November 1921, on a passenger ship bound from New York City to Havana, and is presumed to have committed suicide by jumping overboard.”
On reading about the Lost Battalion I discovered that a pigeon named Cher Ami was responsible for saving the lives of 194 men by delivering a message whilst badly wounded, 25 miles to the rear of the action in just 25 minutes. How good is that?
Although the 1920s list is fascinating (and I will probably go back to it later) my eyes were drawn to the 1930s and the name Barbara Newhall Follett. She “was an American child prodigy novelist. Her first novel, The House Without Windows, was published in 1927 when she was thirteen years old. Her next novel, The Voyage of the Norman D., received critical acclaim when she was fourteen. In 1939, aged 25, she became depressed with her marriage and walked out of her apartment with just thirty dollars. She was never seen again.”
Of course you can probably guess what I did next. I read all about the child prodigy and decided I wanted to read her novel The House Without Windows. You can download it here. And so in the nature of paper trails (web searches) which often seem to be very Alice in Wonderland or Oscar Wildeish, we began with a 1950s crime novel and followed the trail to an American socialite, a long list of missing persons, took a detour rafting down the Grand Canyon, found a Lost Battalion, a Medal of Honour winner, an amazing pigeon, a child prodigy and ended up with what? A book of course! And I’m off to read the Helen McCloy after being rudely interrupted by a paper trail four hours ago.
Yep! That’s what often happens to us historical fiction writers. We frequently become, by necessity, researchers and historians. Because I chose to write a novel set partly in Northern Greece and Serbia during the last 18 months of WWI, I am now fairly knowledgeable about the Scottish Women’s Hospitals, particularly the unit at Ostrovo.
Recently I started a page here on this blog to track the Australian women who worked with the Scottish Women’s Hospitals. With the help of other researchers and historians I have now updated the list.
I now have some more searching to do. A new friend Nikiforos Sivenas, whose very elderly father still remembers the women of the Scottish Women’s Hospital field unit at Ostrovo, has kindly supplied photos and a list of all the women who worked at the Ostrovo Unit. It will take me some time but I hope to search all the names to find out whether they are Australian or not. I also plan to read Australian Doctors on the Western Front by Robert Likeman and The Women of Royaumont by Eileen Crofton to locate more. I just need a few more hours in my day!
A little while ago Anthony Scully of ABC Open invited me to do a post on writing tips for historical fiction. It has been quite a journey working out my tips and whitling down my list to five. Along the way I contacted Justin Go, the author of The Steady Running of the Hour. His webpage details the research journey the writing of his novel took him on. I hope you enjoy my tips and would love to hear yours. Writing Historical Fiction.
The Australian Women Writers Challenge was founded by Elizabeth Lhuede to support and promote books by Australian women. I joined the challenge in 2013 and it has certainly been a journey for me. I am now much more aware of the books written by women and not just Australian women. This year I joined the challenge as a volunteer, as well as a reviewer. I am doing the monthly roundup of Historical Fiction and it is fascinating to see what is being read and reviewed in this genre.
Here is a link to the wrap up.
January 2015 Roundup: Historical Fiction
It’s not too late to join. Hope to see you there!
I can’t believe that it’s nearly five years since I began thinking about a novel partly set in one of the field hospitals of the Macedonian Front. On Australia Day 2010 I did my first little field trip to scout for a family home for my main character. I walked Tyrrell and Wolfe streets that day but a month or two later decided on Mayfield, a suburb of Newcastle on the Hunter River. I barely knew a thing about the Macedonian front, that forgotten series of battlegrounds from WWI, but was determined to find out more. I skimmed through The Gardeners of Salonika by Alan Palmer, read up about the Australian nurses, orderlies and ambulance drivers who were there in Jan Bassett’s book Guns and Brooches. I also did more general reading about the war (including the excellent The Virago Book of Women and the Great War edited by Joyce Marlow) and found out details about the lives of not just Australian nurses but VADs.
My research into Australian VADs (Voluntary Aid Detachments – a sort of orderly, nurses’ aid and dogsbody) gave me information that turned out to be crucial to my plotting of The Grey Silk Purse. I actually had to change my storyline. In my early stages of research I decided my character Phyllis Summerville would become a VAD (her personality doesn’t lend her to the profession of nursing) and she would soon after be posted to France in the thick of all the fighting. WRONG! Australian VADs remained in Australia, working at hospitals looking after shell-shocked and disabled Australian serviceman, shipped home from the fighting. During 2010 I began interviewing residents about Mayfield after the war – obviously relying on memories their families may have passed down.
Through my research I met two very dear friends who helped me bring Mayfield to life – the late Helen Marshall and Vera Deacon, who is very knowledgeable about life on the islands in the Hunter River. In 2011 I decided to keep a blog of my struggles with the immense and intricate research that was needed for The Grey Silk Purse. On 16th June I wrote in my very first blog post: “At this stage it looks like my main character may be working at one of the Scottish Women’s Hospitals.” I had been inspired after discovering about the amazing Olive Kelso King and decided, yep, my girl would be working at one of the field hospitals of the SWH – Miles Franklin’s field unit as it turns out.
In 2012 I had a lot of research points to sort out. For instance, discovering as many Serbian words as I could that my main character would have spoken. (She was given a small Serbian phrasebook after her ambulance driver training). What was her driver’s uniform like? In which battle did my character Adrian Langley lose his leg? Would my young maid sleep at Summerville, the family home where she worked or would she go home? Were the Summervilles wealthy enough to have a chauffeur?
Around this time I met John Vandenberg, a wiki adviser and user, who gave me a crash course and said that if I didn’t put the Ostrovo Unit up on Wiki, the likelihood was that no-one else would. That started the ball rolling. I added Olive Kelso King as well, Dr Mary de Garis and just recently Dr Agnes Bennett. I knew, with dismay that there was no wiki entry for the Scottish Women’s Hospitals at that time. For me, it was just too big an undertaking – although by this time I had read many books on the subject.
Luckily last year I discovered Alan Cumming’s website www.scottishwomenshospitals.co.uk and he has done wonders in profiling the organisation, including travelling to Serbia. He has also been involved in a short film about the SWH. Last year Alan and I were able to work on the wiki entry for the Scottish Women’s Hospitals. I will be doing a biography on Kathleen Dillon soon. Although not Australian I relied quite heavily on her experience, as Head of the Transport Unit based at Yelak, for an important section in my manuscript. I am now actively seeking relatives of Australian women who worked for the SWH and will collaborate with Alan Cumming to get them up on his site. It has been a wonderful adventure discovering all about the Scottish Women’s Hospitals and I hope I can do more to raise awareness of this incredible and fascinating organisation. Please don’t hesitate to contact me. See this page for more information: Australians Working with the Scottish Women’s Hospitals.
By “can’t write” I mean actually kicking and screaming I can’t write writer’s block, my brain is not working or I am sick so I can’t write. This scenario is very different from the I can’t write because I don’t have time – it’s Christmas, the study is being painted or I’m starting a new job or a relative is sick. These situations are really “I have decided not to write at the moment” although we still lament the fact we can’t write to our friends and family.
In 1987 whilst I was writing my first novel I had to have my appendix out. I was two thirds of the way through the manuscript set in the Wye Valley at a youth hostel for school children. Every week a new lot of school children arrived with several teachers to look after them. Just before my appendectomy this new group were assembled on the doorstep of the beautiful old hostel (a former priory) overlooking the Wye river.
I was so excited to get back to the writing after my operation. I actually had a week off work and envisaged getting so much done. I turned on my computer and the blankness was overwhelming. The new group wouldn’t speak to me. It was as if they hadn’t arrived and the rest of the characters weren’t talking either. They were incommunicado. After a few failed attempts at stringing words together, they all just literally packed their bags and left. I was distraught.
I realise now of course that I was suffering some sort of reaction from the anaesthetic. For weeks in bed at night I felt like I was sinking from the head down. I couldn’t concentrate and I definitely couldn’t write. It was so frustrating and a bit worrying. It lasted I think about a month until I found a way out of the haze my brain was in and was able to coax the words back.
The only other time I have experienced the “kicking and screaming I can’t write” was last month and I am only now just getting the words to flow again. What happened? Well, just before my planned holiday to New Zealand, I had a manuscript assessment done by the wonderful novelist Belinda Castles. I received the assessment only days before my cruise and decided that I would tackle it after I got back mid November. I would be renewed and rested and excited. The perfect mindset for a major rewrite. I arrived home on a Wednesday with an awful virus caught from a passenger on board (many at our table were sick) and didn’t have the energy to even open my laptop. I avoided emails for days. Editing was definitely out of the question! For three and a half weeks as it turned out. I have only just begun the rewrite this week and I am finally excited and confident.
What did I do on both occasions to fix the problem? It’s simple and obvious. I read. Well in regards to the assembled school teachers and children I didn’t actually read. To start with I just looked at a book of watercolour sketches of the area of England and Wales where my manuscript was set. I gazed at the beautiful scenes (meadows, woods and streams) and after a day or two managed to read a small amount of text. Soon after I discovered a way back into the manuscript through the landscape that my characters were either living in or visiting.
Last month I reached for the short stories of F Scott Fitzgerald (which I’m still reading) a non fiction book about Sylvia Plath’s month in New York in 1953, a speculative fiction novel and also some short fiction which I devoured. The standout was Andrei Makine’s A Life’s Music. It was so good to read elegant sentences and straightforward plots.
As a writer I marvel at other writers who say they don’t read. How can they learn and improve their own writing if they don’t touch base with how other authors construct sentences, decide on points of view and characterisation and of course evoke a setting? This writer is completely mystified. I frankly don’t think it’s possible and don’t ever intend to try. The only problem I’m faced with in my reading is not finding the time to read but who to read.
At the moment I am very much aware that I need to streamline my manuscript and the books I’ve been reading lately have definitely given me some ideas how to do it. With these new ideas and Belinda’s assessment I am ready to go. Here is what I read November and early December. I wish my readers a Merry Christmas, a Happy New Year and of course happy reading! My Goodreads bookshelf.
From oblivion is what I mean. One of my main aims in being a writer is to preserve little known facts and make them sing in my fiction. I might have touched on this before but there were two facts (above all others) that I wanted to preserve in Tomaree and that was to do with the US servicemen based in Australia. But let me start at the beginning.
Tomaree is inspired not just by a real life love story but by a fascinating time in Australian history when approximately half a million US serviceman were stationed in Australia during World War II. There are a lot of facts in Tomaree – details of the Fly Point camp, the way Nelson Bay used to be in 1942 (just a jumble of small shops) details of campaigns in the Pacific and much more. But the two facts, that may seem trivial, but I wanted to include are: 1. that the American serviceman hated all our loose change. They couldn’t abide it heavy and jingling in their pockets – the threepenny, halfpenny, pennies etc. As related to me by a Nelson Bay Resident, the soldiers would dig their hands in their pockets offer up the change to the nearest small child and say, “Here kid, buy yourself an icecream.”
No. 2 is that wherever the soldiers were stationed in Australia, it was common for local residents to send a small boy (never a girl from what I read in a history book on the subject) into the street looking for a Yank to invite him home to tea. My Amercan Signals Officer is approached by such a small boy but has to refuse because he already has a dinner invitation. I feel very privileged to have the means to keep these sort of little known but important facts alive for the reading public of today. It’s what motivates me to seek out historical fact (like many historical fiction authors I’m guessing) and weave it into my fiction.
In a strange way too, fiction also preserves historical facts for readers. For some time now I’ve been researching Sydney in the 1920s. There are actually not many non fiction books available on the subject. Frustrated, I turned my attention to fiction but wondered where all the female fiction writers were who were writing at that time. There didn’t seem to be many listed in anthologies and literary records. At first I thought there was simply no significant female authors writing during the first two decades of the last century. I have since read Dale Spender’s Writing a New World and discovered that is not the case. They have been deliberately left out of literary collections and reviews – but that’s another blog. In this one I want to highlight how I have found historical fact in fiction.
As mentioned I turned my attention to fiction to help me research the 1920s and luckily discovered Ethel Turner’s daughter Jean Curlewis. Last month I read her third novel Beach Beyond set near Palm Beach and written in 1923. This week I have just finished her first novel written in 1921 – The Ship That Never Set Sail. Here is what I have been looking for the last six months – a real, vibrant Sydney – the Sydney of 90 years ago!
Here she is writing about Darling Harbour:
“They were gazing right down on to the littered decks of ships – they could almost have dropped pebbles into the holds – they caught intimate glimpses of donkey-engines and capstans and flying bridges and fo’c’stle hatches at a proximity impossible at the Quay. The huge funnels towered up right beside them. They could count the cases and barrels and mysterious bulging sacks and great green clusters of bananas scattered on the wharves – gaze down into the dull green water, deep-hued as a peacock’s tail with a film of oil from some passing steamer. All the vast detail of the fifth port of the Empire was spread beneath their eyes: “the beauty and mystery of the ships”; all Darling Harbour stretching like a river between its vessel-teeming banks into the very heart of the city.” Marvellous and better than any history book!
There are also descriptions of White City, now long vanished, a ball on board a warship, something called a gypsy tea, the Blue Mountains when it was smaller and quieter with barely any cars on the road, and Pittwater. A wharf at Newport is mentioned and a pier “that ran out from a green garden full of white pigeons, scented verbena and mauve blue Love-in-a-Mist.” This is very near where I used to live but of course the garden is long gone. I’m so thankful to have found Jean Curlewis. Her words have been helping me to recreate in my mind another Sydney. I hope to track down more lost authors, to read, review and discover the Australia they lived in.
We are constantly told that we need to work on our author platform – as many social media sites as possible. Well that’s fine. That’s the way the world is in the 21st century but how to find the time to maintain them all that is the big question! Of course it is a matter of personal preferences as to which ones you chose of the many. Personally, I have found that Pinterest, WordPress, Goodreads, Twitter, Facebook, StumbleUpon and LinkedIn are the most useful for me – the first five in particular.
But I’m not writing this blog to say get on all these now. I actually want to talk about a problem that seems to be overlooked. And that is protecting your intellectual property. In Goodreads, more so than Amazon, I’ve found that unless an author completes their profile and identifies which books are theirs, things can get really confusing.
I am a librarian on Goodreads, a Goodreads author and a participant of the wonderful Australian Women Writer’s Challenge. What’s been happening recently for me is that I have read several books where the author’s profile is not up on Goodreads. This may not appear to be a big problem for a lot of authors. It’s just one of the platforms they don’t have time for. But what they don’t realise is that when their profile is not completed a search of their name (without a profile) will bring up all the books for that name and some of the titles will not be theirs! In other words the author is not claiming and separating from other authors, their intellectual property.
As I am, like a lot of authors:
Working full time
Writing my novel,
Doing my research,
Maintaining my author platforms
Blogging. And, as well:
Participating in the AWWC
And of course, trying to have a personal life…
There is not really much time for extra stuff.
That’s why I am endeavouring to help in a small way. I hope to assist all the poets that I have featured at my community page www.starvinginagarret.com in making sure Goodreads reflects what they themselves have written. I am also either putting up profiles of authors who don’t appear on Goodreads but whose book or books I have just read. And sometimes this might be an author who has died but whose work I feel deserves a new audience such as Jean Curlewis. (I still have to put up her three other books).
In regards to separating titles that is a delicate process that I only do in collaboration with the author. I cannot presume to know all the titles they have written. So authors make sure Goodreads reflects who you are and what you have written. You mightn’t want to have to tackle this but you do want readers to find your books easily – and that, finally, is what a successful platform is about.