Showing posts with label historical fiction. Show all posts
Showing posts with label historical fiction. Show all posts

Sunday, 18 March 2012

Am I really a horror writer?

Since the beginning of January, I have posted a Friday Flash for each week of 2012, which is a total of eleven stories. However, of those eleven, only three have been non-horror related (one fantasy comedy, one slice of life, and one historical). The other eight have encompassed zombies, mummies, vampires, Gothic horror, evil puppets and as-yet-unnamed creatures who wear human skins. Is anyone else as surprised by that as me?

Back in the day, I called myself a horror writer. We're talking back when I was about sixteen and didn't know any better. I read Stephen King and Clive Barker, and I wanted to write like that too. Problem was, I didn't really enjoy writing "gore". It just didn't seem to work for me very well. I stuck to my "weird fantasy" stories, writing about games of chess between celestial beings, or jewellery boxes that turned their contents into gold, and eventually put out my Checkmate & Other Stories collection, composed of those stories I'd had published online. Definitely not 'slice of life' or realistic, but not really horror either.

So time went by, and I branched out. I wrote historical stories, and ventured into steampunk, and wound up writing a pulp Western last year. I'm damned proud of The Guns of Retribution, but there's always been a little tug back towards my roots - to the extent that its sequel, To Kill A Dead Man, sees Grey O'Donnell pitted against villains of a more supernatural nature. I hardly think it's a surprise that I'd find myself back within the horror genre, considering I spend my spare time hunting ghosts, and studying haunted house films for my PhD - and that's when I'm not reading about the psychological theories that underpin the horror genre as a whole. My life is pretty well steeped in Bizarro at the moment.

Or is it something deeper? I like to think my "craft" has improved since those first stories were published back in 2008, and I'm in a better place to write horror stories that get under the skin. Perhaps spending so long writing weekly flashes, and working on longer stories or novels, has honed my idea-generating skills to the point that I feel I'm better able to work with horror. Maybe my experiences with strange events, and my research into them, has given me better insights into what ideas will work, and what won't. Or maybe the stressful nature of my life at the moment means that the stress has to come out somewhere - and it's choosing to birth weird ideas from my imagination.

Either way, I want to ask a question. My work seems to fall into two major categories, and then a whole bunch of little ones beyond that. So what would people rather see from me - horror stories, or my historical tales?

Thursday, 23 February 2012

[Guest Post] Beth Trissel on Research

I'm pleased to be able to welcome author Beth Trissel to the Blunt Pencil today! Beth caught my attention with her fascinating posts about herbal lore over on her blog, One Writer's Way, and I've asked her to talk about the importance of research. Over to you, Beth!

Passion for the past and research into those who’ve gone before me is the underlying inspiration for all my work, as is the beautiful Shenandoah Valley where I live. My Scots-Irish ancestors were among the earliest settlers here. Did you know Virginia has more ghost stories than any other state? Not necessarily because we have a more fertile imagination, but sadly because the Old Dominion has seen more bloody battles over the centuries than any other. Think back, Jamestown (founded 1607) was the site of the oldest successful English settlement and its history is a violent one. And on we go to the many heart-rending wars fought with the usurped Indians, a number of them waged on Virginia soil.

March on to the Revolution; anyone heard of Yorktown, to name just one famous battle? And let’s not forget that horrific most uncivil of wars, much of it fought in, you guessed it, Virginia. And yet, this multitude of hauntings doesn’t only feature soldiers caught in an endless fray who haven’t gotten word the war’s over, although there are legions of tales that do, and entire companies of ghosts are said to battle on. Many tales feature the myriad of people, great and small, who dwelt in our richly historic state.

The old Virginia homes and plantations have accumulated a wealth of such stories. Thus, it was while touring some of these English styled manor homes with my dear mother and doing research for my historicals that I conceived the idea for my paranormal romance, Somewhere My Love. Added to this meld of vintage Virginia is my own heritage, a vast source of inspiration from my childhood. On my father’s side, I descend from old Southern gentry, now impoverished after the Civil War, Great Depression, and various other misfortunes, including the untimely death of my brilliant grandfather. But the gracious Georgian home his ancestor built (circa 1816) still stands outside the historic town of Staunton.

Ever determined the family home place was haunted, I wove stories through my fevered mind, along with my continual search for Narnia which entailed frequent treks into the old wardrobe. This house is also the primary inspiration behind my recent light paranormal romance, Somewhere the Bells Ring. But I digress. Frequently. The magnificent ancestral portraits in my family and on display in other Virginia homes held me transfixed, wondering. And it was just such a portrait of a striking dark-haired gentleman who embedded himself in my thoughts. Who was he? Why did he die so young? That other painting of the fair young lady…did she love him?

Often, the guides at these old homes are brimming with tales. But other times we are left to wonder…and ask ourselves are these folk who’ve gone before us truly gone, or do some still have unfinished business in this realm? And what of the young lovers whose time was tragically cut short, do they somehow find a way? Love conquers all, and so I answer ‘yes.’

My love of herbal lore also played a prominent role in the story, as did Shakespeare’s Hamlet. Talk about research...whewwww....

*The outstanding homes behind my inspiration for Somewhere My Love:

Berkeley Plantation (well worth a visit)

Shirley Plantation (well worth a visit)

Family home place (Not open to the public)

“As I read Somewhere My Love, I recalled the feelings I experienced the first time I read Daphne DuMaurier’s Rebecca long ago. Using deliciously eerie elements similar to that gothic romance, Beth Trissel has captured the haunting dangers, thrilling suspense and innocent passions that evoke the same tingly anticipation and heartfelt romance I so enjoyed then, and still do now.” ~ Joysann, Publisher’s Weekly

Light paranormal romance Somewhere My Love is available in print and/or eBook at Amazon Kindle, The Wild Rose Press, All Romance Ebooks, Barnes & Noble and other online booksellers.
 
Beth's blog, One Writer's Way.
Beth on Facebook.
Beth on Twitter.
Beth on Goodreads.

Thursday, 15 September 2011

The Guns of Retribution as historical fiction

I hate the concept of self-promotion about as much as I dislike the idea of using sulphuric acid instead of sun cream. It just doesn't sit well with the English sensibility unless you're an attention-seeking contestant on Big Brother. However, as Blackadder would say, needs must when the Devil vomits into your kettle, and here I am, trying to think of ways to promote my new book without jumping out at you, waving a placard in your face.

The hard sell is that The Guns of Retribution is now available for the Kindle through the very excellent Pulp Press (here for the UK, and here for the US). I know a lot of people look down on so-called pulp fiction but it offers a damn good read, as I think I mentioned when I reviewed Danny Hogan's Pulp Press novella Jailbait Justice earlier in the year. I've been trying to think of things to say about pulp fiction to hopefully pique people's interest in it (go on, check out PP's other books, you know you want to), as well as my own book. Besides, publishing blogs are always telling us that no one is buying Westerns, so aside from citing the success of HBO's Deadwood series, or highlighting the change in Hollywood mindset that led to Jon Favreau's Cowboys & Aliens, how do I change your mind?

I did what any self-respecting journalist would do and asked on Twitter if anyone had anything specific they wanted to know about it. After reading the questions, I'm going to run a short series of posts in an attempt to answer them. Hopefully you'll find the processes I describe useful if you're a writer yourself, and if you're not, then hopefully all the talk of gun fights and femmes fatale might make you want to buy the book! Yes, there are guns. There are gallows. There's a bad guy you'll want to punch in the face. What's not to like?

One question I received is one that did play on my mind when I first made the decision to write a Western. Now, my reasons for choosing the genre were quite straightforward. I was offered a range of genres in which to write and the Western was the one that grabbed my attention. I'd already written adventure fiction in the form of my steampunk serial, The First Tale, and the larger-than-life characters of the Old West aren't a million miles away from the pirates of the Caribbean, as exemplified in my Parrots and Piracy stories. The iconography and history are different but the basic idea is the same.

But it wasn't just that. I know what you're thinking, how can a female writer from the cold North East of England possibly write a Western about a male bounty hunter in Arizona? Easy. Research.

Anyone who's been reading my flash fiction for a while will know I have a bit of a thing about writing historical fiction. Grave robbers, the inmates of Bedlam, ships lost at sea, bullies at the Charterhouse School - I just love setting stories in the past. I've had a deep passion for history since I was little and I enjoy the research just as much as I enjoy the actual writing part. I did study the history of the American West at school as part of the GCSE syllabus, and I found it absolutely fascinating - and here was my chance to use it as a backdrop to a story.

I'll be honest, I never much cared for Westerns as films, with the notable exception of Back to the Future III (though I do admit the entire film is stolen by Thomas F. Wilson as Buford "Mad Dog" Tannen). A very good friend of mine recommended Tombstone, and my entire opinion changed. It's an awful film in terms of acting and structure, but it's just so damned enjoyable. While many of the early Westerns are far from historically accurate, choosing to paint a mythologised picture of the Old West, they're a good way to get a feel for a period. Naturally, later Westerns (such as the 3:10 to Yuma remake in which Russell Crowe acts Christian Bale off the screen) are much more adept at historical accuracy.

Clearly, when dealing with a period so far outside one's own lifetime, one of the best research tools is still a library. I read extensively before starting my novella, including general histories of the Old West, histories more specific to Arizona and the Apaches, and other Western novels. I can't stress enough how important it is to read, both primary and secondary sources. Primary sources for the Old West are a little limited in the UK, since we don't have the same level of access to contemporary newspapers, diaries or letters etc., but many of these are reproduced in secondary sources such as history books and biographies. Indeed, the Old West has an added advantage of having been a popular choice for TV documentaries, allowing the information to be presented in a visual way. Yes, there is always the possibility for the bias of the researchers to colour the information, but helps contextualise the period.

All that remains of Aztec, AZ
My final mode of research would have been to visit places in Arizona but seeing as how my budget didn't stretch far enough, I had to rely on Google Maps. Obviously the locations I discovered are contemporary, although many of the ghost towns can still be found using the aerial mode, but Google Maps is good for getting a feel for the landscape. It would be no good me setting a novel in Arizona and then describing lush green fields or subtropical paradises, only to find scrubland and canyons when double-checking the facts. Retribution and Sandwater, the two towns featured in The Guns of Retribution, are entirely made up, but they're loosely based on actual towns. It might be a pulp novella but I didn't want people to read it and say it was factually inaccurate!

I really enjoyed writing the book and I hope people enjoy reading it. The Guns of Retribution is currently 99p/99c, but the price will be going up next week! For those who prefer hard copies, it comes out in paperback on September 24, and you can pre-order it here.

Friday, 1 October 2010

Friday Flash - The Hidden

“This sorry specimen came to us late last month. Her husband brought her. The poor fellow was simply beside himself with worry. He is much improved now that he is confident in the knowledge that she is in our care.”

The warden gestured to the woman behind the bars. A tattered shawl hung around her thin shoulders. A brown mouse sat in the palm of her right hand, nibbling a crumb of bread. The visitors chose not to see the cracks in the wall, or the lack of glass in the window. They did not smell the fouled straw matting on the floor. They did not hear the drip of water in the corner.

“What is her condition?” asked the visitor. He adopted a suitable expression of concern, although his wife looked terrified by the mouse.

“I believe her to be simply melancholic, but the Physician believes her to be delusional. Her paranoia is at an advanced stage, although she is a quiet patient and keeps to herself,” replied the warden.

“What form do her delusions take?” asked the visitor’s wife.

“She calls herself Ann Crook, and believes herself to be the future Queen of England. She denounced her husband when he admitted her, telling us that he was a member of Her Majesty’s Secret Service. Her real husband, so she claims, is Prince Albert Victor,” replied the warden.

“How astonishing!” said the visitor.

“And there is no basis in her claims?” asked his wife.

“We believe not, although she is lucid when she tries to explain. Indeed, one might have trouble believing her to be insane, although the Physician has made this diagnosis, and he is never wrong,” said the warden.

“On what basis did he make his diagnosis?” asked the visitor.

“She ranted and she raved on admittance. She demanded to speak with her husband, and then the police, and she even called for a newspaper man. She has calmed since those early days.”

“Is it safe to speak with her?” asked the visitor’s wife.

“Good Lord, Marian - why ever would you want to do that?” asked the visitor.

“Curiosity, William,” replied his wife.

“She is entirely safe to converse with. I shall call her,” said the warden.

“No need, warden. I can ’ear all you say from ’ere,” said the woman. She looked up from the mouse’s antics.

“Pray tell me, madam. What is your name?” asked the visitor’s wife.

“Ann Crook, but everyone ‘ere calls me Louisa Smith,” replied the woman.

“Are you really the wife of a prince?” asked the wife.

“If I say yes, then I’m a lunatic, and I live in this ‘ell. If I say no, then I’m a liar, and I damn myself to ‘ell,” replied the woman. “So if you don’t mind, I’ll keep quiet.”

“Why would the Prince have you deposited here?” asked the wife.

“I dunno about you but I don’t think a Prince would abandon his wife. His mother, on the other ‘and...well if she’s a cold, uncaring sort who’s only interested in the future of her bleedin’ Empire...then she might well ‘ave somethin’ to do with it,” replied the woman. “She can’t ‘ave her son producing an ‘eir with a Catholic, now, can she?”

“You’re a Catholic?” asked the visitor.

“Not any more, I ain’t. God deserted me when I got dumped in ‘ere. So I deserted ‘im. See how he likes it,” replied the woman.

“Dear me, God does not desert anyone! He loves all of his flock. If you only reach out to him-”

“Pardon my language, my lady, but arses to that,” said the woman.

“Come on now, Louisa. Less of that,” said the warden. He tapped his keys on the bars.

“Or you’ll what? Bleed me? Purge me? Vomit me? The bleedin’ Physician does that!” said the woman.

“Gracious, does he really?” asked the visitor. “I thought such antiquated practices had long been abandoned by the madhouses.”

“I’m in no position to discuss that Physician’s practices, but he’s one of the most brilliant doctors in London. People literally queue to have their unfortunate relations placed under his care in this very hospital,” snapped the warden.

“And they queue up in ‘ere to get back out,” said the woman. “You pay no mind to ‘is blatherin’ on. I’m not the only one who shouldn’t be ‘ere. You stop and think about it - where’s the best place to put someone if you don’t want people to listen to ‘em?”

“William, I think we should be going,” said the wife.

She clutched her husband’s arm. He looked down at her and nodded.

“I really am terribly sorry for your plight, Mrs Smith,” said the visitor.

The warden led them away down the corridor. They didn’t hear the raving of the lunatics upstairs. They didn’t hear the sobbing of the melancholics, locked in their damp cells with only their own neuroses for company.

They didn’t hear the silent plea of an innocent woman.

* * *

This flash was inspired by a book I read about London’s infamous Royal Bethlem Hospital, known as ‘Bedlam’. Written by Paul Chambers, Bedlam: London’s Hospital for the Mad tells several tales of people imprisoned in asylums in the 18th and 19th centuries by relatives eager to get their hands on their wealth, or by people wanting to silence an outspoken individual without resorting to more nefarious means. The conditions, and treatment, described here are all based on documented evidence. The inclusion of Ann Crook is my nod towards Alan Moore’s Jack the Ripper epic, From Hell.

The image is from William Hogarth’s A Rake’s Progress, wherein a man falls from grace and ends his days a gibbering wreck in Bedlam.

Sunday, 29 August 2010

Icy's Guide to writing Historical Fiction

Having read the excellent guest post by the equally excellent Carrie Clevenger over at Write Anything about writing historical fiction, I thought I might take the time to sit down, and have a bit of a chat about my own process. Lately I've been basing some flashes on local legends or historical anecdotes, and I've discovered I really enjoy doing so.

Fowlis Westerby
I first began flirting with history when I wrote my first novel, Fowlis Westerby. Fowlis himself is a ghost and therefore free from the restraints of time, but as he is originally a Cavalier, I needed to have some awareness of the English Civil War. Hazy memories of studying the Stuarts at school was clearly not enough, and I've been spending some time researching the period. Madame Blavatsky also makes an appearance, so again I delved into the history books to find out more about this fascinating figure.

Local legends and anecdotes
I've already written a post about the origins of the tale that inspired my flash about the Black Knight, but my most recent flash, The Resurrection Men, and an exclusive flash which will only appear in my forthcoming e-book, a tale named The Charterhouse Bullies, were both inspired by historical events. History can sometimes seem so dry and far removed from us. How can we connect with people and places that are long gone? Personally, I love reading historical non-fiction. Only this week, I've bought a book on Victorian social history, and another on medieval England (research for the third tale from Vertigo City). One of my passions is London history - I might be a Geordie but London is my current home, and I like to know where I'm living. Besides, London has a rich and eccentric history, and it provides ripe fodder for fictional prompts.

It starts
So how do I go about writing it? Well it usually starts with a book. I might be a film student but I do love reading. So there I am, reading about whatever has taken my fancy on that particular day, and something leaps out at me. One of two things now happens. Sometimes a story pops into my head, fully formed, that is designed solely to add a human face to an anecdote or legend. The rest of the time, the seed of an idea drops into the top soil of my mind, and I have to do a little gardening to get it to grow. By gardening, I obviously mean research, but you knew that, didn't you? Of course you did.

Research
When I say research, what is the first thing that pops into your head? If you thought, "Wikipedia", then get out of my classroom now, and don't come back until you've written "Encyclopaedia Britannica" 800 times. Wikipedia CAN be a useful source of information, but, like most things on the Internet, it is written and edited by ANYONE. Take what you find on it with a hearty dose of salt - much of it is written by experts for other experts but that won't stop some bored jackass changing the details.

Books
Instead, go to a library. Bloggers might be predicting the death of publishing but real books still exist, and they still contain an absolute wealth of knowledge. Read all you can about your chosen topic - accept what feels right, discard what doesn't. Remember that these will be mostly secondary sources and their primary sources might not be the most reliable. Even if you find primary sources, consider their original purpose and remember that they might be biased, and if they're memoirs, remember that people won't always tell you the whole story, and even if they do, the human memory is not infallible.

Media
If your historical period is after the mid-1800s, seek out photographs. Yes, some early photographs were faked, or fake merely in the sense that they are highly posed, but they'll still give you a greater clue to details, ambience and basic setting than any amount of description in a book. Photographs act as wonderful prompts anyway, but old photographs do so in a completely different way. Why not use old family photographs to write the invented histories of your ancestors? Experience media from the period in whatever way you can - Carrie also recommends listening to music from the period, but movies are also a good example. Yes, they may be sanitised, romanticised, or simply from one point of view, but what they DON'T contain often tells you more than what they DO. You can also check out paintings, engravings, or even tapestries. If you've got a local fashion or textiles museum, pay a visit - costume can tell you a lot about social convention or mobility.

Locations
If it's possible, visit locations. I write a lot in London so obviously I can pop out and see the places. Many of them no longer exist, but while the street or building itself has long since gone, there will no doubt be somewhere similar nearby. There is enough of London's strange atmosphere to soak up that I can get by on what I absorb simply walking around.

Eyewitnesses
If your piece occurs within living memory, then talk to people who were there. Again, be wary of rose-tinted spectacles or skewed memories, but you can still get plenty of details from a conversation with someone who experienced a period firsthand that you'd never get from a book. If it doesn't occur within living memory, then try and track down oral histories. There are several that deal with the Victorian period due to the sudden interest taken in the lower orders. The documentation is mind-boggling.

Immerse yourself and put it all together
Hopefully, if you immerse yourself in a period for long enough, you'll feel that little 'click' when it all comes together. Your idea will be rooted in a sense of 'reality' and your research will help bring a past time to life. This reality will breathe life into characters and places that are long gone - and hopefully you'll have a better sense of where you come from, and what has gone before. Go forth on your historical quest - and good luck.