How I Write Historical Fiction
Although there are books on the subject of How To Write Historical Fiction, which are useful, I am sure that novelists develop their own techniques.
I read history books and sooner or later something triggers my imagination. For example, I read that most of the English nobility disliked James II, his politics and his religion. After James fled to France, first his older daughter, Mary, and her husband and then her younger daughter Anne succeeded to the throne. Some peers refused to swear oaths of allegiance to James’s successors during his lifetime. Their refusal provided the historical trigger for my novel Tangled Love, first published as Tangled Hearts, which will be released on the 27th January, 2012.
After I decide on the period for a novel, I compile a chronological timeline with a narrow column on the left with the heading Date and two wide columns on the right with the headings National and International events.
Two of my dislikes when reading historical fiction about real or imaginary characters are historical inaccuracy, and characters who do not act in accordance with their time. Recently, I began a reader’s report on a historical romance. The first two chapters were so full of flaws that I returned it to the author with the comment that, although the plot is interesting, she needs to concentrate on research before rewriting it. I really don’t enjoy novels by authors who despoil history.
While I am working on a novel, I begin my research for the next one. I read about the economics, politics, social history, religion, clothes and everyday objects as well as reading fiction and poetry pertinent to the era. By the time I have finished a novel I have completed the groundwork for the next one in which I will use only a fraction of the information I have garnered. The advantage of such thorough preparation is showing the reader life as it was through my characters in an interesting way.
The more I research the more I realise how different modern day attitudes are to those of the past. However, even if attitudes and surroundings are different, we share the same emotions, love, ambitions, hope, hatred, envy, grief, hopelessness and misery.
As well as a difference in attitudes, there is also a difference in language which is a trap for the unwary author who should avoid sprinkling a novel with ‘la’, ‘methinks’ and ‘gazooks’ etc. In my novel, Sunday’s child, set in the Regency era, my well-born characters speak formally without contractions. In Tangled Love I use a few words such as oddsbodikins that give the flavour of speech in Queen Anne’s reign, and I avoid anachronisms.
I enjoy researching historical fiction through reading and visiting places of historical interest, including gardens, and also enjoy bringing the past and its people to life in my novels.
Showing posts with label James II. Show all posts
Showing posts with label James II. Show all posts
Sunday, 6 November 2011
Saturday, 13 February 2010
Show Don't Tell - Write With Style
Show Don’t Tell
One way to make your work fascinating is to use the active rather than the passive voice.
Passive
Passive designates a form of the verb by which the verbal action is attributed to the person or thing to whom it is actually directed: i.e. the logical object is the grammatical subject. E.g. He was seen by us. Passive. The opposite of active. Active: We saw him.
In a grammatically active construction, the subject is performing the action.
eg Jack ate the chocolate. (Jack is the subject, he’s performing the action, the chocolate is the object.)
Exposition
At the beginning of a play the dramatist is often committed to giving a certain amount of essential information about the plot and events which are to come. He may also have to give information about what has ‘already happened’. All this comes under the heading of exposition. A skilful dramatist is able to introduce material without holding up the action of the play and with recourse to the obvious devices of narrative.
Exposition is also a subject which other fiction writers need to consider. A writer might do well to remember that in Writing Circles, was, were, had, feel, felt and feeling are often considered to be passive words which tell instead of showing. A writer should also remember that modern editors and publishers tend to shy away from exposition.
***
I could have begun my published novel, Tangled Hearts, like this:
Richelda Shaw was in her nursery when Elsie, her mother’s maid, told her that her father had summoned her. After she had delivered the message, Elsie had followed her to the great hall where her father was waiting.
This tells my reader what happened but is not interesting.
Instead, I began.
“Richelda Shaw stood silent in her nursery while thunder pealed outside the ancient manor house and an even fiercer storm raged deep within. She pressed her hands to her ears and, eyes closed, remained as motionless as the marble statues in the orangery.
‘Nine years old and you’ve not yet learned to be neat!’ Elsie, her mother’s personal maid, pulled Richelda’s hands from her ears. ‘Come, your father’s waiting for you.’
Richelda’s hands trembled. What was wrong? Until now Father’s short visits from France meant gifts and laughter. This one made Mother cry while the servants spoke in hushed tones.
Followed by Elsie, Richelda hurried down the broad oak stairs. For a moment, she paused to admire the lilies of the valley in a Delft bowl. Only yesterday, she picked the flowers to welcome Father home. After she had arranged them with tender care, she placed them on a chest, which stood beneath a pair of crossed broadswords on the wall above.
Elsie opened the massive door of the great hall where Father stood to one side of the enormous hearth.
This shows the heroine acting in a way consistent with her situation, instead of telling the reader about it.
However, as for ‘telling’ being wrong, it is not. Was, were, had, feel, felt and feeling are part of the English language and if I showed every single event in a novel it would be too long for publication.
It is how I use was, were, had, feel, felt and feeling which matters, not whether or not I use them.
I need the skill to decide when telling is too much and when I should stop telling and start showing.
Characterisation
In Tangled Hearts, I could have written the following to tell my reader that Chesney, the hero, is handsome:-
“Chesney had the classical features of Adonis. He was tall, had perfect proportions and was in good health.”
Instead I wrote:-
“…‘Who is that Adonis?’ A high-pitched female voice interrupted Chesney’s thoughts.
Chesney looked round and saw a powdered and patched lady with rouged cheeks staring at him.
‘I don’t know, I think he’s a newcomer to town,’ her companion, a younger lady said in an equally strident tone.
Unaffected by their comments he laughed. Since his youth women remarked on his height and his perfect proportions. He did not consider himself vain, but unlike some members of his gentlemen’s club, who took little exercise and overate, he fenced, hunted and rode to keep his body fit.
The older lady inclined her head, the younger one winked before they went about their business.”
Of course introspection is a form of telling but it is effective and reveals the character.
In Tangled Hearts it was not enough to tell my reader that Chesney is brave. I needed to show him in action.
“Chesney rushed to the cottage. ‘Keep back, Richelda,’ he shouted, ‘the thatch will ignite like tinder.’
Taking no heed of his instructions, she ran after him and followed him down the short corridor to the kitchen where smoke poured from beneath the door. ‘I think Elsie is in there,’ Richelda screamed above the roar of the fire.
Every trace of an indolent nobleman vanished. Chesney snatched off his periwig, wrenched off his coat and swathed it round his head.
‘Go outside! Your clothes will burn like kindling.’ He disappeared into the kitchen.”
***
I believe that I must strive to grab my reader’s attention from the first line to the last, and that passive writing – or telling – weakens the prose.
When I revise my work I use the search and find facility on the computer to highlight the words which tell and decide whether or not I can improve the text.
To be a writer not only do I need to be an artist, I also need to craft my work. Words are the tools which I use to write a page turner for my readers.
Flashbacks
Chesney lived in France with his father etc., is exposition in conversation. “Do you know I lived in France at the court of James II in St Germaine etc.,” is description.
A flashback reveals something that occurred in the past as though it occurs in the present.
Even if the reader needs to know about my character’s past I am cautious as to how I reveal it.
Frequently, flashbacks are often badly written and they jerk the reader from the present to the past.
The knack is to slip in essential facts without disrupting the story - memory of something that happened in the past, the reply to a question, a letter or an entry in a diary
Tangled Hearts is set in England in 1702 at the beginning of Queen Anne’s reign. In order to avoid flashbacks full of historical detail to I began with Author’s Notes.
“When the outwardly Protestant Charles II died in 1685, he left a country torn by religious controversy but no legitimate children. The throne passed to his Catholic brother James.
It was an anxious time for the people, whose fears increased when James II, became so unpopular that he was forced into exile. In 1688, James’s Protestant daughter, Mary, and her husband, William of Orange, became the new king and queen of England.
Some English Protestants, who had sworn allegiance to James II, refused to take a new oath of allegiance to William and Mary and joined him in France.
When James’s younger daughter, Anne, inherited the throne in 1702, many Protestant exiles returned to England. Others declared themselves Jacobites and supporters of James II son, James III, by his second wife, Mary of Modena, and stayed abroad. They believed James III should be king.”
In my rough draft of Tangled Hearts the scene in the manor house when my heroine, Richelda, is a child, (quoted above) was a flashback. When I revised the novel I realised it was too long so I scrapped it and began with a prologue that contained the essential information.
Conclusion
Words are a writer’s tools. Avoid dull narrative, boring flashbacks and unnecessary exposition. Write stylishly. Words should sparkle and grip the reader.
One way to make your work fascinating is to use the active rather than the passive voice.
Passive
Passive designates a form of the verb by which the verbal action is attributed to the person or thing to whom it is actually directed: i.e. the logical object is the grammatical subject. E.g. He was seen by us. Passive. The opposite of active. Active: We saw him.
In a grammatically active construction, the subject is performing the action.
eg Jack ate the chocolate. (Jack is the subject, he’s performing the action, the chocolate is the object.)
Exposition
At the beginning of a play the dramatist is often committed to giving a certain amount of essential information about the plot and events which are to come. He may also have to give information about what has ‘already happened’. All this comes under the heading of exposition. A skilful dramatist is able to introduce material without holding up the action of the play and with recourse to the obvious devices of narrative.
Exposition is also a subject which other fiction writers need to consider. A writer might do well to remember that in Writing Circles, was, were, had, feel, felt and feeling are often considered to be passive words which tell instead of showing. A writer should also remember that modern editors and publishers tend to shy away from exposition.
***
I could have begun my published novel, Tangled Hearts, like this:
Richelda Shaw was in her nursery when Elsie, her mother’s maid, told her that her father had summoned her. After she had delivered the message, Elsie had followed her to the great hall where her father was waiting.
This tells my reader what happened but is not interesting.
Instead, I began.
“Richelda Shaw stood silent in her nursery while thunder pealed outside the ancient manor house and an even fiercer storm raged deep within. She pressed her hands to her ears and, eyes closed, remained as motionless as the marble statues in the orangery.
‘Nine years old and you’ve not yet learned to be neat!’ Elsie, her mother’s personal maid, pulled Richelda’s hands from her ears. ‘Come, your father’s waiting for you.’
Richelda’s hands trembled. What was wrong? Until now Father’s short visits from France meant gifts and laughter. This one made Mother cry while the servants spoke in hushed tones.
Followed by Elsie, Richelda hurried down the broad oak stairs. For a moment, she paused to admire the lilies of the valley in a Delft bowl. Only yesterday, she picked the flowers to welcome Father home. After she had arranged them with tender care, she placed them on a chest, which stood beneath a pair of crossed broadswords on the wall above.
Elsie opened the massive door of the great hall where Father stood to one side of the enormous hearth.
This shows the heroine acting in a way consistent with her situation, instead of telling the reader about it.
However, as for ‘telling’ being wrong, it is not. Was, were, had, feel, felt and feeling are part of the English language and if I showed every single event in a novel it would be too long for publication.
It is how I use was, were, had, feel, felt and feeling which matters, not whether or not I use them.
I need the skill to decide when telling is too much and when I should stop telling and start showing.
Characterisation
In Tangled Hearts, I could have written the following to tell my reader that Chesney, the hero, is handsome:-
“Chesney had the classical features of Adonis. He was tall, had perfect proportions and was in good health.”
Instead I wrote:-
“…‘Who is that Adonis?’ A high-pitched female voice interrupted Chesney’s thoughts.
Chesney looked round and saw a powdered and patched lady with rouged cheeks staring at him.
‘I don’t know, I think he’s a newcomer to town,’ her companion, a younger lady said in an equally strident tone.
Unaffected by their comments he laughed. Since his youth women remarked on his height and his perfect proportions. He did not consider himself vain, but unlike some members of his gentlemen’s club, who took little exercise and overate, he fenced, hunted and rode to keep his body fit.
The older lady inclined her head, the younger one winked before they went about their business.”
Of course introspection is a form of telling but it is effective and reveals the character.
In Tangled Hearts it was not enough to tell my reader that Chesney is brave. I needed to show him in action.
“Chesney rushed to the cottage. ‘Keep back, Richelda,’ he shouted, ‘the thatch will ignite like tinder.’
Taking no heed of his instructions, she ran after him and followed him down the short corridor to the kitchen where smoke poured from beneath the door. ‘I think Elsie is in there,’ Richelda screamed above the roar of the fire.
Every trace of an indolent nobleman vanished. Chesney snatched off his periwig, wrenched off his coat and swathed it round his head.
‘Go outside! Your clothes will burn like kindling.’ He disappeared into the kitchen.”
***
I believe that I must strive to grab my reader’s attention from the first line to the last, and that passive writing – or telling – weakens the prose.
When I revise my work I use the search and find facility on the computer to highlight the words which tell and decide whether or not I can improve the text.
To be a writer not only do I need to be an artist, I also need to craft my work. Words are the tools which I use to write a page turner for my readers.
Flashbacks
Chesney lived in France with his father etc., is exposition in conversation. “Do you know I lived in France at the court of James II in St Germaine etc.,” is description.
A flashback reveals something that occurred in the past as though it occurs in the present.
Even if the reader needs to know about my character’s past I am cautious as to how I reveal it.
Frequently, flashbacks are often badly written and they jerk the reader from the present to the past.
The knack is to slip in essential facts without disrupting the story - memory of something that happened in the past, the reply to a question, a letter or an entry in a diary
Tangled Hearts is set in England in 1702 at the beginning of Queen Anne’s reign. In order to avoid flashbacks full of historical detail to I began with Author’s Notes.
“When the outwardly Protestant Charles II died in 1685, he left a country torn by religious controversy but no legitimate children. The throne passed to his Catholic brother James.
It was an anxious time for the people, whose fears increased when James II, became so unpopular that he was forced into exile. In 1688, James’s Protestant daughter, Mary, and her husband, William of Orange, became the new king and queen of England.
Some English Protestants, who had sworn allegiance to James II, refused to take a new oath of allegiance to William and Mary and joined him in France.
When James’s younger daughter, Anne, inherited the throne in 1702, many Protestant exiles returned to England. Others declared themselves Jacobites and supporters of James II son, James III, by his second wife, Mary of Modena, and stayed abroad. They believed James III should be king.”
In my rough draft of Tangled Hearts the scene in the manor house when my heroine, Richelda, is a child, (quoted above) was a flashback. When I revised the novel I realised it was too long so I scrapped it and began with a prologue that contained the essential information.
Conclusion
Words are a writer’s tools. Avoid dull narrative, boring flashbacks and unnecessary exposition. Write stylishly. Words should sparkle and grip the reader.
Thursday, 6 November 2008
Queen Anne - Part Two
Queen Anne – Part 2
Princess Anne’s mother died and her father, James, Duke of York, had taken the unpopular step of becoming a Roman Catholic. Her uncle, the childless King Charles II, knew politics demanded his heirs, Anne and her elder sister, Mary, be raised in the Protestant faith. He appointed Lady Frances Villiers, a committed Anglican, as their governess and leased Richmond palace to Frances and her husband.
The princesses benefited from country air and were privileged to live by the Thames in those days when, due to bad roads, the river was of great importance.
Anne’s indulgent father visited his daughters regularly, showered them with gifts and often stayed for several nights at Richmond Palace. Yet all was not well with the family. In 1673, due to the Test Act, which excluded anyone who did not take communion in the Anglican Church from public office, James was forced to resign as Lord High Admiral and to give up all his other official positions. In that age of fervent religious allegiances, I wonder what effect religious controversy and on Anne, a stubborn child.
What did Anne think when her father married fifteen year old Mary? History relates that James was captivated by his bride. Looking at a copy of her portrait, I’m not surprised. She was tall with a good figure, jet black hair, a fair skin and large eyes that her contemporaries at court described as ‘full of sweetness and light’. The proud bridegroom introduced his new wife to his daughters as a ‘playmate’ but Anne formed a bond, not with her stepmother, whose children would be raised in the Roman Catholic faith, but with vivacious Sarah Churchill, who would have such a profound influence on Anne’s life.
Motherless Anne, a Protestant ‘Cinderella’ of her times, has all the ingredients of a fictional heroine, but what would she make of her life? After all, she belonged to the tragic Stuart family.
It is in ‘Cinderella’s life and times that I have set my novel Tangled Hearts and am setting my new novel, Tangled Lives.
Rosemary Morris
www.rosemarymorris.co.uk
Tangled Hearts available from bookshops, The Book Depository (free postage) Amazon and elsewhere.
Princess Anne’s mother died and her father, James, Duke of York, had taken the unpopular step of becoming a Roman Catholic. Her uncle, the childless King Charles II, knew politics demanded his heirs, Anne and her elder sister, Mary, be raised in the Protestant faith. He appointed Lady Frances Villiers, a committed Anglican, as their governess and leased Richmond palace to Frances and her husband.
The princesses benefited from country air and were privileged to live by the Thames in those days when, due to bad roads, the river was of great importance.
Anne’s indulgent father visited his daughters regularly, showered them with gifts and often stayed for several nights at Richmond Palace. Yet all was not well with the family. In 1673, due to the Test Act, which excluded anyone who did not take communion in the Anglican Church from public office, James was forced to resign as Lord High Admiral and to give up all his other official positions. In that age of fervent religious allegiances, I wonder what effect religious controversy and on Anne, a stubborn child.
What did Anne think when her father married fifteen year old Mary? History relates that James was captivated by his bride. Looking at a copy of her portrait, I’m not surprised. She was tall with a good figure, jet black hair, a fair skin and large eyes that her contemporaries at court described as ‘full of sweetness and light’. The proud bridegroom introduced his new wife to his daughters as a ‘playmate’ but Anne formed a bond, not with her stepmother, whose children would be raised in the Roman Catholic faith, but with vivacious Sarah Churchill, who would have such a profound influence on Anne’s life.
Motherless Anne, a Protestant ‘Cinderella’ of her times, has all the ingredients of a fictional heroine, but what would she make of her life? After all, she belonged to the tragic Stuart family.
It is in ‘Cinderella’s life and times that I have set my novel Tangled Hearts and am setting my new novel, Tangled Lives.
Rosemary Morris
www.rosemarymorris.co.uk
Tangled Hearts available from bookshops, The Book Depository (free postage) Amazon and elsewhere.
Queen Anne - Part One
My novel, Tangled Hearts, is set in the reign of Queen Anne a ‘Cinderella’ princess of little importance during her childhood.
At her birth, neither her uncle, Charles II, nor her father, James, Duke of York, imagined she would become the last of the Stuart monarchs. After all, Charles’ seven bastards proved his virility and there was every reason to believe he and his queen of three years would have legitimate heirs to the throne. And in the unlikely event of their not producing one, his brother and sister-in-law, James and Anne, had produced an elder brother and sister for the latest addition to their nursery, Baby Anne.
In those days infant mortality was high. The son ‘Cinderella’s’ mother carried when she married only lived for six months. But Anne and her older sister, Mary, survived the Great Plague which broke out in the year of her birth. The little princesses grew up in their nursery but their brother James, another brother and two little sisters died. One can imagine the effects of these deaths on ‘Cinderella’, a small girl with poor health whose weak eyes watered constantly.
Doubtless, it was with the best of intentions that with the consent of ‘Cinderella’s’ uncle, the king, her parents sent the four year old to her grandmother, widow of the executed Charles I, who now lived in France.
As I write, I have before me a portrait of Anne as a small girl painted by an unknown artist at the French Court. She is plump and adorable, dressed in brocade and playing with a King Charles spaniel. Her eyes are wary set in an oval face with a mouth shaped in a perfect cupid’s bow.
In 1699, after Anne’s grandmother died, the little girl passed into the care of her father’s sister, Henrietta Maria, Duchess of Orleans, whom Anne’s uncle, the King of England doted on. In 1670 five year old Anne had to cope with yet another death, this time that of her aunt, whose husband, younger brother of the French king, was suspected of poisoning her.
Anne returned to England, her eyes only slightly improved, to be reunited with her parents. By then her mother was unpopular because she had converted to the Church of Rome and her father, who in 1699, gave serious consideration to his salvation took Holy Communion from a papist priest. Her parents’ decisions would have a long term effect on the young princess Anne’s future.
www.rosemarymorris.co.uk
Tangled Hearts set in Queen Anne’s England received five star reviews and is available now.
At her birth, neither her uncle, Charles II, nor her father, James, Duke of York, imagined she would become the last of the Stuart monarchs. After all, Charles’ seven bastards proved his virility and there was every reason to believe he and his queen of three years would have legitimate heirs to the throne. And in the unlikely event of their not producing one, his brother and sister-in-law, James and Anne, had produced an elder brother and sister for the latest addition to their nursery, Baby Anne.
In those days infant mortality was high. The son ‘Cinderella’s’ mother carried when she married only lived for six months. But Anne and her older sister, Mary, survived the Great Plague which broke out in the year of her birth. The little princesses grew up in their nursery but their brother James, another brother and two little sisters died. One can imagine the effects of these deaths on ‘Cinderella’, a small girl with poor health whose weak eyes watered constantly.
Doubtless, it was with the best of intentions that with the consent of ‘Cinderella’s’ uncle, the king, her parents sent the four year old to her grandmother, widow of the executed Charles I, who now lived in France.
As I write, I have before me a portrait of Anne as a small girl painted by an unknown artist at the French Court. She is plump and adorable, dressed in brocade and playing with a King Charles spaniel. Her eyes are wary set in an oval face with a mouth shaped in a perfect cupid’s bow.
In 1699, after Anne’s grandmother died, the little girl passed into the care of her father’s sister, Henrietta Maria, Duchess of Orleans, whom Anne’s uncle, the King of England doted on. In 1670 five year old Anne had to cope with yet another death, this time that of her aunt, whose husband, younger brother of the French king, was suspected of poisoning her.
Anne returned to England, her eyes only slightly improved, to be reunited with her parents. By then her mother was unpopular because she had converted to the Church of Rome and her father, who in 1699, gave serious consideration to his salvation took Holy Communion from a papist priest. Her parents’ decisions would have a long term effect on the young princess Anne’s future.
www.rosemarymorris.co.uk
Tangled Hearts set in Queen Anne’s England received five star reviews and is available now.
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