X is for Xray

Historical Novelist’s A-Z of Writing

 

X is for X-ray

 

By the time I finish a novel, I am so familiar with it that my brain switches off and I see what should be on the page instead of what is actually on it.

 

I need X-ray eyes to make sure the novel is as perfect as possible before I submit it to my publisher.

 

First of all, I use the grammar and spell check to make sure there are no grammatical errors or spelling mistakes.

Next, I read the novel from beginning to end checking the contents. Are the details correct? Is there too much or too little description? Is there enough emotion? Is the pace too fast or too slow in each scene? Is there a hook at the end of each chapter which will make the reader want to read on?

 

With regard to the last question, I was delighted by an e-mail from a policewoman in South Africa, who was due to go on duty at 6 a.m. Before she went to sleep she decided to read a little from my novel Tangled Love set in Queen Anne Stuart’s reign 1702-1714. Many cups of black coffee later when it was nearly dawn she finished reading it. 

 

After checking the contents, I check the linguistics by highlighting words such as and, was, were, had, that and because to see if I have used them too frequently. Whenever I have I rephrase the sentence.

 

A final check of the formatting, spelling and grammar and it’s time to submit the novel.

 

 Rosemary Morris

Historical Novelist

www.rosemarymorris.co.uk

 

Published by MuseItUp Publishing.

 

e.books available from MuseItUp Publishing, amazon, nook, kobo and elsewhere, Sunday’s Child, False Pretences,Tangled Love, Far Beyond Rubies,also available as a print book,  and The Captain and The Countess

 

W is for Writer's Day

W is for Writer’s Day

If I had a pound for everyone who told me they could write a book my savings would have increased, and if I had one for everyone who told me they started a novel but couldn’t finish it they would have increased even more.

Every published author I know organises their time in order to write.

I not write historical novels, which requires research and visits to places of historical interest. I also blog and deal with ‘writerly’ matters.

My writing day begins at 6 a.m. With a break for breakfast I work until 10 a.m. After lunch I work for an hour and more often than not I work from 4 or 6 p.m. to 8 p.m.

This is my routine on every day of the year except for Christmas and even then I’ve sneaked a look at my e-mails. But I confess that this year, when I went on holiday with my daughter and her children, writing took the proverbial back seat.

The point is that an author needs to organise their time. For those with little time to spare by writing a page a day a non-fiction book or a novel can be completed, edited and revised within the year.

www.rosemarymorris.co.uk

 

Buzz Deal $0.90 & £0.77 ends 12 p.m 17/08

Rosemary Morris’s The Captain and the Countess set in 1706 is available as an e-book for 77p from www.amazon.co.uk and for $0.99 from www.amazon.com,

https://museituppublishing.com, kobo and elsewhere until midnight on the 17^th August.

 

His heart captured by the Countess, only Captain Howard sees pain behind her fashionable façade and is determined to help her.

V is for Viewpoint

For the reader to identify with the main protagonist in each scene everything needs to be shown through the eyes of the viewpoint character.

For example, the following is a brief extract from my novel The Captain and The Countess, in which Edward, Captain Howard sees the Countess for the first time.

  
    “Lady Sinclair,” someone murmured.
     Edward turned. He gazed without blinking at the acclaimed beauty, whose sobriquet was ‘The    Fatal Widow’.  
    The countess remained in the doorway, her cool blue eyes speculative.
    Edward whistled low. Could her shocking reputation be no more than tittle-tattle? His artist’s eyes observed her. Rumour did not lie about her Saxon beauty.

The reader sees Edward's reaction to the countess and his reaction to her beauty.

Instead of 'head-hopping' - switching from one person to another person's viewpoint - sticking to a single viewpoint makes it clear to the reader which character they should identify with.

Of course, if a short story or novel is written in the first person the entire story is from a single viewpoint.

 

 

U is for Understand

U is for Understand

 

Before I submit my novels to my publisher, MuseItUp Publishing, I work with an online critique group and read my chapters aloud on critique evenings at Watford Writers. I am always grateful when a critique comments that they don’t understand something.

 

For example:in my current novel, Monday’s Child, Christies will auction some valuable items. I wrote about the events leading to this at the beginning of the novel but when I referred to it in Chapter Twenty-Two some of my critiquers did not understand the reference.

 

My characters, their motivations, and the plot and theme are clear in my mind. It is for me to make sure that my readers understand everything.

 

Rosemary Morris

Historical Novelist

www.rosemarymorris.co.uk

 

Extract from The Captain and The Countess

Rosemary Morris’s most recent novel The Captain and the Countess has received 5* reviews and is available as an e-book for 77p from www.amazon.co.uk and for $0.99 from https://museituppublishing.com until midnight on the 17^th August.

 

Exract fromThe Captain and The Countess

 

London 1706

 

Edward, the Right Honourable Captain Howard, dressed in blue and white, which some of the officers in Queen Anne’s navy favoured, strode into Mrs Radcliffe’s spacious house near St James Park. 

Perkins, his godmother’s butler, took his hat and cloak. “Madam wants you to join her immediately.”

Instead of going upstairs to the rooms his godmother had provided for him during his spell on half pay—the result of a dispute with a senior officer—Edward entered the salon. He sighed. When would his sixty-one year old godmother accept that at the age of twenty-two he was not yet ready to wed?

He made his way across the elegant, many windowed room through a crowd of expensively garbed callers.

When Frances Radcliffe noticed him, she turned to the pretty young lady seated beside her. “Mistress Martyn, allow me to introduce you to my godson, Captain Howard.”  

Blushes stained Mistress Martyn’s cheeks as she stood to make her curtsey.

 Edward bowed, indifferent to yet another of his grandmother’s protégées. Conversation ceased. All eyes focussed on the threshold. 

“Lady Sinclair,” someone murmured.

Edward turned. He gazed without blinking at the acclaimed beauty, whose sobriquet was ‘The Fatal Widow’. 

The countess remained in the doorway, her cool blue eyes speculative.

Edward whistled low. Could her shocking reputation be no more than tittle-tattle? His artist’s eyes observed her. Rumour did not lie about her Saxon beauty.

 Her ladyship was not a slave to fashion. She did not wear a wig, and her hair was not curled and stiffened with sugar water. Instead, her flaxen plaits were wound around the crown of her head to form a coronet. The style suited her. So did the latest Paris fashion, an outrageous wisp of a lace cap, which replaced the tall, fan-shaped fontage most ladies continued to wear perched on their heads. 

Did the countess have the devil-may-care attitude gossips attributed to her?  If she did, it explained why some respectable members of society shunned her. Indeed, if Lady Sinclair were not the granddaughter of his godmother’s deceased friend, she might not be received in this house.

The lady’s fair charms did not entirely explain what drew many gallants to her side. After all, there were several younger beauties present that the gentlemen did not flock around so avidly.

He advanced toward the countess, conscious of the sound of his footsteps on the wooden floor, the muted noise of coaches and drays through the closed windows and, from the fireplace, the crackle of burning logs which relieved the chill of early spring.

The buzz of conversation resumed. Her ladyship scrutinised him. Did she approve of his appearance? A smile curved her heart-shaped mouth. He repressed his amusement. Edward suspected the widow’s rosy lips owed more to artifice than nature.

“How do you do, sir,” she said when he stood before her. “I think we have not met previously. Her eyes assessed him dispassionately. My name is Sinclair, Katherine Sinclair. I dislike formality. You may call me Kate.”

“Captain Howard at your service, Countess.” Shocked but amused by boldness more suited to a tavern wench than a great lady, Edward paid homage with a low bow before he spoke again. “Despite your permission, I am not presumptuous enough to call you Kate, yet I shall say that had we already met, I would remember you.”

“You are gallant, sir, but you are young to have achieved so high a rank in Her Majesty’s navy.”

“An unexpected promotion earned in battle which the navy did not subsequently commute.”

“You are to be congratulated on what, I can only assume, were acts of bravery.”

“Thank you, Countess.”

The depths of her ladyship’s sapphire cross and earrings blazed, matching his sudden fierce desire.

Kate, some four inches shorter than Edward, looked up at him.

He leaned forward. The customary greeting of a kiss on her lips lingered longer than etiquette dictated. Her eyes widened before she permitted him to lead her across the room to the sopha on which his godmother sat with Mistress Martyn.

With a hint of amusement in her eyes, Kate regarded Mrs Radcliffe. “My apologies, madam, I suspect my visit is untimely.”

Her melodious voice sent shivers up and down his spine, nevertheless, Edward laughed. Had the countess guessed his godmother, who enjoyed match-making, wanted him to marry Mistress Martyn? No, he was being too fanciful. How could she have guessed?

“You are most welcome, Lady Sinclair.  Please take a seat and partake of a glass of cherry ratafia.” Frances said.

 “Perhaps, milady prefers red viana,” Edward suggested

“Captain, you read my mind, sweet wine is not to my taste.”

In response to the lady’s provocative smile, heat seared his cheeks.

Kate smoothed the gleaming folds of her turquoise blue silk gown. The lady knew how to dress to make the utmost of her natural beauty. Her gown and petticoat, not to mention sleeves and under-sleeves, as well as her bodice and stays, relied for effect on simple design and fine fabrics. He approved of her ensemble, the elegance of which did not depend on either a riot of colours or a multitude of bows and other trimmings. Later, he would sketch her from memory.

Kate inclined her head to his godmother. “Will you not warn your godson I am unsound, wild, and a bad influence on the young?”

Edward gazed into Kate’s eyes.  Before his demise, had her husband banished her to a manor deep in the country? If it was true, why did he do so?

Kate’s eyebrows slanted down at the inner corners. She stared back at him.  He laughed, raised her hands to his lips and kissed each in turn. “I look forward to furthering my acquaintance with you.”

“High-handed.” Kate gurgled with laughter. “Captain, please release me.”

     What did he care if she were some ten years his elder? He wanted to get to know her better. Edward bowed. “Your slightest wish is my command.”

A frozen glimpse of despair in her eyes unsettled Edward. Did he imagine it? He could not speak. Why should a lady like the countess despair?

 

www.rosemarymorris.co.uk

 

The Captain and The Countess. Special Offer £0.77p. $0.90

Rosemary Morris’s most recent novel The Captain and the Countess is available as an e-book for 77p from www.amazon.co.uk and for $0.99 from https://museituppublishing.com until the 17^th Aaugust.

 

5* Review of The Captain and The Countess on www.amazon.co.uk

I've really become a fan of Rosemary Morris's books because I feel she sets out to write much more than a romance. Her new historical did not disappoint me with its hero who is a young Captain in Queen Anne's navy, marooned at the time of the story on half-pay, and the widow nine years his senior. It's set in the time of Queen Anne, 1702-1714, so quite a bit earlier than the Regency offerings we get so used to.

I particularly enjoyed the way the politics, lifestyle and beliefs of the age were woven in quite seamlessly, and loved the tender manly hero and the somewhat damaged heroine. Though he is the younger, his naval service has brought him maturity. Though she is older, she has been very badly used by the men in her life and has a shocking secret.

The research is truly immaculate but I felt as though I were in Kate's drawing room rather than reading a history book. Rosemary has explored some of the folk customs and superstitions current in this period and also written a great love story.

Suitable for those who enjoy a well-written, well-researched historical novel; a sensual love story with no explicit sex and a happy ending. This book is downloadable to kindle and other e-readers and is therefore suitable for many with a visual disability.

Well done,

J. Pitman

 

Rosemary Morris

www.rosemarymorris.co.uk

 

 

 

Special Offer

My novel set in the reign of Queen Anne Stuart – 1702-1714 is on special offer for $0.99 during August from https://museituppublishing and at sites listed on the website.

 

The Captain and The Countess by Rosemary Morris

 

Back Cover

 

Why does heart-rending pain lurk in the back of the wealthy Countess of Sinclair’s eyes? 

 

Captain Howard’s life changes forever from the moment he meets Kate, the intriguing Countess and resolves to banish her pain.

 

Although the air sizzles when widowed Kate, victim of an abusive marriage meets Edward Howard, a captain in Queen Anne’s navy, she has no intention of ever marrying again.

 

However, when Kate becomes better acquainted with the Captain she realises he is the only man who understands her grief and can help her to untangle her past.

 

5* Review on Amazon

 

I'm a fan of Rosemary Morris's writing. She always delivers something little different, with style.

The 'Captain and the Countess' is a powerful historical romance. Powerful, because of the stakes involved - missing children, love, desire. The theme of a search for missing children is really well done, with tension and at times heart-rending scenes.

(I sniffed into my hankie a few times, reading this novel.)

The 'Captain and the Countess' is rich in its detail of customs, beliefs, cities, classes, servants, fashions, meals and more. Set a time when ancient superstitions can destroy a young woman's life, the novel shows the transition between our more modern 'rational' time and the older medieval age with great accuracy.

The 'Captain and the Countess' is a moving romance, too. Edward is a wonderful hero, patient, caring, direct, insightful. Kate, the heroine, is tender and delightful, beset by troubles and a tragic past but always striving, always hoping. They are well-matched and I was willing them to find their HEA together, which they do.

Finally, the novel is original in the way it tackles certain themes. The hero and heroine don't simply bicker for the sake of tension. They argue because it matters and they don't sulk afterwards but seek to work together. The historical period Rosemary Morris has chosen, that of Queen Anne, just before the Regency, is wonderfully fresh and springs to life through her skilful words.

Lindsay Townshend

T is for Theme

Now that I am back from holiday and am recovering from a virus I shall complete my ABC about writing.

 

As a reader and a historical novelist I consider a strong theme is essential. For example, the theme of Gone With the Wind (until the end of the novel) was Scarlet O’Hara’s unrequited love for Ashley Wilkes and the theme of Romeo and Juliet was unconsummated love. In my novel, Sunday’s Child it was the hero’s fear of his future wife becoming pregnant caused by a dreadful experience when the British fought against Napoleon in the Iberian Peninsula.

 

It would be interesting to know how many authors only begin a novel when they have chosen a theme.

 

I spend a lot of time creating my characters and naming them after deciding on a plot and then choosing the theme.

 

Not a Bowl of Cherries

When I returned from holiday accompanied by the virus my car would not start. I phoned the AA for help. The mechanic replaced the battery. Today, feeling a lot better I popped up to the local Allotment Society to get some tomato feed. When I returned to the car it would not start. I called the AA again. The diagnosis is faulty starter motor is. Matters turned into a nightmare. The mechanic told me that if I turned off the engine the car would not start again and I must take it to a garage to be repaired. If I didn't and the car would not start again I would not be entitled to the AA Relay service, which would mean paying a proverbial arm an a leg to have it towed. (I am going to query this with the AA when the office opens tomorrow.) Well! It's Sunday. My only option was to take it to Quickfit. Their mechanic would have to confirm the diagnosis and the mechanic will not be available until Friday or later. By then the virus was kicking in. My daughter collected me and took me home. I phoned a mechanic. He said that if it is the starter motor the whole engine would have to come out in order to replace it so it might not be worth repairing the car. Oh dear, oh dear, last time my car had to be scrapped it took ages to find another one  second hand one. The loss of freedom to go out whenever I wanted to was very depressing and I can't stand the thought of going through it again.

When I returned from holiday accompanied by the virus my car would not start. I phoned the AA for help. The mechanic replaced the battery. Today, feeling a lot better I popped up to the local Allotment Society to get some tomato feed. When I returned to the car it would not start. I called the AA again. The diagnosis is faulty starter motor is. Matters turned into a nightmare. The mechanic told me that if I turned off the engine the car would not start again and I must take it to a garage to be repaired. If I didn't and the car would not start again I would not be entitled to the AA Relay service, which would mean paying a proverbial arm an a leg to have it towed. (I am going to query this with the AA when the office opens tomorrow.) Well! It's Sunday. My only option was to take it to Quickfit. Their mechanic would have to confirm the diagnosis and the mechanic will not be available until Friday or later. By then the virus was kicking in. My daughter collected me and took me home. I phoned a mechanic. He said that if it is the starter motor the whole engine would have to come out in order to replace it so it might not be worth repairing the car. Oh dear, oh dear, last time my car had to be scrapped it took ages to find another one  second hand one. The loss of freedom to go out whenever I wanted to was very depressing and I can't stand the thought of going through it again.

Not a Bowl of Cherries

When I returned from holiday accompanied by the virus my car would not start. I phoned the AA for help. The mechanic replaced the battery. Today, feeling a lot better I popped up to the local Allotment Society to get some tomato feed. When I returned to the car it would not start. I called the AA again. The diagnosis is faulty starter motor is. Matters turned into a nightmare. The mechanic told me that if I turned off the engine the car would not start again and I must take it to a garage to be repaired. If I didn't and the car would not start again I would not be entitled to the AA Relay service, which would mean paying a proverbial arm an a leg to have it towed. (I am going to query this with the AA when the office opens tomorrow.) Well! It's Sunday. My only option was to take it to Quickfit. Their mechanic would have to confirm the diagnosis and the mechanic will not be available until Friday or later. By then the virus was kicking in. My daughter collected me and took me home. I phoned a mechanic. He said that if it is the starter motor the whole engine would have to come out in order to replace it so it might not be worth repairing the car. Oh dear, oh dear, last time my car had to be scrapped it took ages to find another one  second hand one. The loss of freedom to go out whenever I wanted to was very depressing and I can't stand the thought of going through it again.

Back from Holiday

Life is not a bowl of cherries. During my holiday in glorious Devon I felt very unwell. I returned from holiday last Saturday and went to the doctor on Monday. Deep sigh, I have a viral infection and am taking antibiotics. At the moment, I have no energy.

Offline

I shall be without internet for two weeks, after which I shall post T is for Telling,

 

All the best,

Rosemary Morris

 

Historical Novelist

 

www.rosemarymorris.co.uk

Show Don't Tell in Fiction

Many of us grew up listening to stories which began, for example: 'Once upon a time there was a king and queen had no children, until, after they thought they would never have a child, they were delighted when the queen became pregnant.." This is an extreme example of telling, which is boring. It includes the followingwords which should be avoided whenever possible:- 'had', 'was' and 'were'.

An alternative could be:

Queen Anne looked out of the window at children playing with a ball in the courtyard of the castle. She sighed. "If only we could have a child."

King James put his arm around her. "Perhaps we will."

Queen Anne doubted it until, several months later, she disturbed her husband in a council meeting to speak to him privately.

"What is it," the king asked, "you know you shouldn't interrupt me when-"

"Shush, your majesty. I couldn't wait to tell you I am expecting a child."

When I finish a novel, I highlight 'had', 'was' and 'were'. I then see if I can rephrase text containing these words.

Of course, the culprits are part of the English Language that we cannot avoid using, but we should make sure we are showing the reader what happens not telling them what happened.
.



  

R is for Romance

Many of the most famous novels are either romances or have an element of romance in them.

Most of us have experienced romance which novelists can draw on when writing about the subject. Whatever we write the characters must spring to life from the page and, if the reader is not going to lose faith in them, their circumstances and behaviour be believable.

Consider Pride and Prejudice which contains the classic ingredients of an engrossing romance with many obstacles which inhibit it until the happy ever after ending.  When the couple first meet they should not fall in love at first sight, although they can be attracted to each other, on the other hand they could be angry or suspicious, be reluctantly drawn to each other, be wary, embarrassed or annoyed.

The setting must be romantic - a holiday in a five* hotel or cottage with rambling roses round the door, an exotic place - a houseboat in Kashmir, a log cabin by a lake in Canada, Venice, a beautiful island.

When writing about the location, descriptions and language needs to be sensuous, employing the five senses, and conveying food, perfumes etc. Everything should be larger than life.

Romance has it's own language to draw the reader deeper and deeper into the story. Short sharp sentences emphasise conflict and drama. Longer sentences allow the reader 'to smell the roses'.

Historical romance requires extensive research - a foolish mistake will cause the reader to lose faith in the author.

Finally, the reader should be able to fall in love with the hero or heroine in spite of their faults. After all, in Margaret Mitchell's Gone With the Wind Rhett Butler understood Scarlet's flaws and loved her passionately in spite of them.

Q is for Quest

Quests are a crucial part of fable, fantasy, legend and myth. To name only a few, there are a wealth of fascinating quests in The Odyssey, the search for the Holy Grail by Arthur's knights of the Round Table, which so many novelists have written about, Tolkien's novels beginning with The Hobbit, J. K. Rowling's Harry Potter series, Percy Jackson's The Olympians and Philip Pullman's The Golden Compass (His Dark Materials series).

Perhaps it is significant that the child in all of us enjoys children's novels with riveting quests.

Quests in fiction are important. What does the hero or  heroine want? At the beginning of Margaret Mitchell's Gone With the Wind, her self-absorbed heroine, Scarlet O'Hara's quest is to attract every man at a barbecue, whether she wants them or not, and, above all, to marry Ashley Wilkes, who she pursues until the final chapter.

I have yet to read a novel in which there is not a quest - for love, to find out who done it, to take revenge, to be a successful businessman or woman, actor, actress, artist, poet or author etc.

So, before I write the first line of a new novel or short story I ask myself what the main characters' quests are

Q is for Quest

Quests are the foundation of oral history, fantasy, legend and myths.

Surely one of the most famous quests, about which so much has been written, is the quest for the Holy Grail in the days of King Arthur and the knights of the round table.

P is for Pace

Instead of telling a reader about an event it would be more interesting in dialogue.

e.g. Jane remembered the day on which her dog ran away and is glad to get him back.

e.g. Tears filled Jane's eyes as she hugged Rover. "Thank you, thank you for returning him. I've been out of my mind with worry since he ran away."

Involve the five senses to show the reader characters. Allow them to bring back memories of the past. For example, a whiff of a particular perfume brings my mother to mind. A snatch of Indian music reminds me of a performance of a dancer's amazing performance as a peacock. Your characters will have their own memories which lead into the present.

Involve the protagonist instead of relying on description. Instead of, for example, describing a character's new gown, allow her to admire it, smooth it and tweak it into place. Let your reader see her.

Show a scene through a character's eyes, what does he or she like or dislike about it? Show the character touching things. If he or she is outside on a rainy, windy day show how they react perhaps by struggling with an umbrella, perhaps wishing he or she had worn a raincoat.

Conflict increases the pace and so does danger. To heighten them, use short sharp sentences. However, don't rush the pace throughout the novel, alternate tense scenes with calm ones.

O is for Opening Lines

When I write the opening lines of a novel, I visualise a customer reading the first sentences. No matter how attractive the front book cover is, or how intriguing the blurb on the back cover is, if the first lines don't grip the reader, the sale will be lost.

When I submit a novel or short story, I send it with a prayer, hoping the agent or publisher will be hooked by the first lines and be reeled in by the following ones.

My historical novel Far Beyond Rubies begins:-

 

' “Bastards, Juliana! You and your sister are bastards.”

'Aghast, Juliana stared at William, her older half-brother, although, not for a moment did she believe his shocking allegation.' 

William's accusation and Juliana's reaction are intended to grip the reader and make them want to read on.

The first sentence of Margaret Mitchell's Gone With the Wind is:-

"Scarlett O'Hara was not beautiful, but men seldom realised it when caught by her charm as the Tarleton Twins were."

In his book, Writing the Blockbuster Novel, Albert Zuckerman comments. "This sixteen-year old girl is presented as someone out of the ordinary."

The first lines are crucial and the author needs to give them very careful consideration.

N is for Names

I like to read novels - particularly historical ones, including historical romance, by authors whose fiction I have not read before. When choosing what to read, the character's names are very important to me. If, for example, the hero, who is a mediaeval knight', is called Wayne and the heroine is a mediaeval lady, for example, called Flossie, I don't choose that book. If the names are inappropriate it indicates the author's research might leave much to be desired.

Wayne or Waine is not listed in The Oxford Book of English Christian names, but "Wainwright. Old English waegnwyrhta 'wainwright, wagon-builder" is mentioned in The Reader's Digest Great Encylopaedic Dictionary as a surname.

 Florence, which is shortened Florrie, Flo, Floy or Flossie, became common in the 19th century.

The name, Florence, derives from Florentia, female and Florentius, male. Florence was used in the Middle Ages about equally as a man's or a woman's name but died out as a man's name.

That's enough about the origin of the name, Florence, but as I have already mentioned a heroine in the middle ages called Flossie would put me off the novel.

When choosing names for my characters I refer to The Oxford Dictionary of English Christian Names, The Reader's Digest Great Encyclopaedic Dictionary useful for both Christian and Surnames,  and Burke's Peerage as well as a book of first names for Babies which includes names from many parts of the world. As for Burkes, it's fascinating, and provides a treasure trove of unusual first names and surnames some of which have been handed down from generation to generation.

Until I have named my main characters they do not spring to life in my imagination. I spend many happy hours browsing names in my search for appropriate ones.

M is for Memory

It is mortifying if a novelist describes a character's eyes as blue and later refers to them as grey. In order to avoid such mistakes I fill in a detailed character profile, which includes appearance, for main characters and a simpler one for minor characters, which also includes their appearance.

In my new historical novel Monday's Child there are many minor characters. Instead of depending on my memory, I have a card index in which I record the names of those who have a very minor role.

These aids to memory are very useful. I remember reading a historical novel which began with the main character, who was called - say - Lady Violet. Half way through the novel Lady Rose was introduced. What had happened? The author had changed her mind about calling the main protagonist Lady Violet and re-named her. Unfortunately, she forgot to change the name in the first half of the novel and - amazingly - neither the contents editor nor the line editor notice so the name  Lady Rose replaced Lady Violet when the novel was published. Of course, this is an extreme example, but novelist's beware, but I wonder what the readers made of it.

L is for Line Editing

Before I begin a new chapter, I read through the previous one and tweak it prior to submitting it to an online historical critique group for constructive comments and suggestions. My 'critiquers' are kind enough to point out missing commas, awkward phrases and much more as well as letting me know what they like. After I apply whatever I agree with, I read chapters aloud at Watford Writers where I receive invaluable feedback,  including suggestions re editing.
,
The hard work begins after I finish a novel. First of all, I highlight words I want to use sparingly, such as and,  was,  were,  had,  as, etc.I then look, for example , for   phrases  joned by and. Frequently, I divide sentences into two by deleting and, which makes my prose more concise.

I then use the spelling and grammar check to correct spelling mistakes and grammatical errors. Afterwards I check both the spelling and grammar when I re-read the entire novel.

I make sure that I have not either repeated any words frequently or used the same word too close together.

For example: in the sequel to Sunday's Child, Monday's Child I wrote the following:-

"Appreciative of his well-schooled, black gelding, Langley mounted and settled on the saddle. He patted the powerful animal’s glossy neck.

A wagon pulled by powerful Flemish horses approached from the opposite direction."

When writing I was concentrating on the story, when editing I replaced ' the powerful Flemish horses' with 'the strong Flemish horses.'

I remove clichés, unless a character uses them in dialogue - but I still use them sparingly - get rid of anything trite and make sure my metaphors read well.

I also rewrite sentences and sometimes move a scene from one part of the novel to another.

Finally, prior to submission, I check the novel by reading it aloud bit by bit because if I read too much at a time my concentration wavers.

K is for Kaleidoscope - novelist's.

One definition of kaleidoscope in Collins's English Dictionary is "any complicated pattern of frequently changing shapes and colours."

When writing my novels shapes and colours develop and enrich my writing.

For example, in my new historical novel, Monday's Child, the sequel to Sunday's Child, I wrote:  "Helen shook her head and looked down at the path riddled with tree roots." This is more interesting than writing: "Helen looked down at the path." Also, although it is unnecessary to describe the precise shape of the roots the reader will be able to imagine them.

Helen has to make a life-changing decision so I used shapes to develop the sub-text. "Helen traced a pattern with the tip of her toe on the ground between two roots that resembled hands reaching out to grab her." This is more effective than writing. "Helen traced a pattern on the ground with the tip of her toe." The reader can visualise the shapes of roots shaped like hands.

After I have written the first draft of a novel, I imagine it as either a patchwork waiting to be finished with stitches binding it to the backing, or as an incomplete piece of embroidery. To embellish the fabric of the novel I employ the five senses, or faculties, of sight, hearing, touch, taste and smell.

One example of sight and smell in Monday's Child, which I have not yet submitted to my publisher,  is:- "Near the kiosk he thought he saw a movement by an oak tree, where sunlight kissed bluebells at its base. An errant breeze wafted their fragrant perfume to him – a fragrance so different to smoke- laden air on battlefields. " ('He' is a captain serving under the Duke of Wellington.)

The novels I enjoy most are those in which the authors have developed not only - in the words of Collins English Dictionary - "In addition to the five traditional faculties of sight, hearing, touch, taste, and smell ... are the means by which bodily position, temperature, pain, balance etc., are perceived."

 

 

 

J is for Juggling.

No, I'm not writing about throwing balls in the air and catching them. Yesterday I wrote about ideas.  Today I'm writing about juggling the ideas for novels, novellas, short stories and articles which are in my head.

I keep an ideas file, and when I am about to write something new I juggle the ideas and spend a lot of time tossing them up and down in my mind before choosing one.

At the moment I would like to enter a competition and in spare moments am juggling three ideas. At first, I thought of writing a ghost story and rejected it because I think a lot of competitors will write one, then I considered a love story with a happy ever after ending after many problems and rejected it for the same reason, and I also rejected a murder story. I like one of my new  shortlist of three ideas, but am not sure whether I can succeed in turning it into a credible, unusual story. While I'm going about my daily tasks I'll keep a notebook nearby and juggle my ideas for the first sentence, the characters, and the important questions, who? what? when? where? why? and how? At the thought of so much hard mental work my head is now spinning like the juggler's balls when he tosses them up into the air.

I is for Ideas

There are many triggers which provide ideas. Snatches of overheard conversation, snippets in newspapers, articles in magazines, non-fiction books, various situations in our daily lives and those of friends and acquaintances.

All of us have access to these triggers, but some people merely find them interesting other people use them to write fiction.  Sometimes ideas stay with us for a long time. Again and again we return to them and eventually write the first line of a short story or novel.  We have grasped the trigger and developed it by asking ourselves: What happened? Where did it happen? When did it happen. Why did it Happen? How did it Happen? Who did it happen to?

At a party hosted by another fiction writer, a gentleman followed me around telling me at length that he had many ideas and wanted to write a novel. Eventually, desperate to be rid of him, I said. "I'll tell you how to write one." He thought I had a magic formula but I told him. "Write the first word and continue until you reach the end." Good advice, although I say so myself, we never know where our ideas will take us.

I Am Anna Markland's guest blogger.

Today, I am a guest at Anna Markland's blog. http://annamarkland@gmail.com

I've blogged about the era's in which I set my historical fiction.

H is for Useful Historical Non-Fiction

I haven’t got time to count how many historical non-fiction books I own and use to research my novels.

Below is a list of books I chose to list at random to. As you might guess from the titles I’m in love with history.

 

Peter Ackroyd – Albion. The Origins of English Imagination.

 

Louise Allen - Walks Through Regency England.

 

Louise Allen - Walking Jane Austen’s London. A Tour Guide for the Modern Traveller.

 

Magi Black – A Taste of History. 10,000 Years of Food in Britain.

 

John Buke -  Life in the Castle in Mediaeval England.

 

Elizabeth – Burton – The Jacobeans at Home.

 

Anne de Courcey – The Fishing Fleet. Husband Hunting in the British Raj.

 

William Dalyrymple – White Mughals. Love and Betrayal in 18^th Century India.

 

Ian Fletcher - Galloping at Everything. The British Cavalry in the Peninsula War and Waterloo 1808-1815.   

 

Kristine Hughes - Everyday Life in Regency and Victorian England from 1811-1901.

 

Sherrilyn Kenyon - The Writers Guide to Every Day Life in the Middle Ages.

 

Margaret Wade Labage. - A Baronial Household in the 13^th Century.

 

David Miller - Lady de Lancey - A Story of Duty and Devotion.

 

Ian Mortimer – The Time Travellers Guide to Medieval England.

 

Oxford History of England. May McKissack - The Fourteenth Century 1307 – 1399.

 

The British Museum - Georgians Revealed. Life, Style and Making of Modern Britain.

 

M & C Quenell – A History of Everday Things in Britain

 

Jenny Uglow - A Gambling Man. Charles II and The Restoration.

 

Jenny Uglow - A Little History of British Gardening.

 

C. Willet and Phillis Cunnington – Handbook of English Medieval Costume.

 

 

 

 

 

H is for some of my favourite historical novels

The following list is of historical fiction chosen at random from my bookshelves. Each of them have one thing in common – in future, I will read them again.

 

It would be interesting to know if anyone else treasures a book on my list.

 

Kane and Abel by Jeffrey Archer

The Greatest Knight by Elizabeth Chadwick

The Last Runaway by Tracy Chevalier

Sara Dane by Catherine Cookson

Sharpe (series) Bernard Cornwell

The Red Kimono by Christina Courtenay

The Red Tent by Anita Diamant

The Nightingale Sisters by Donna Douglas

Call Nurse Mille by Jean Fullerton

Angelique (series) by Sergeanne Golon

A Bargain Struck by Liz Harris

These Old Shades by Georgette Heyer

Devil’s Cub by Georgette Heyer

An Infamous Army by Georgette Heyer

The Far Pavillions by M.M.Kay

The Thorn Birds by Colleen McCullogh

Gwenevere by Rosalind Miles

Gone With the Wind by Margaret Mitchell

The Scarlet Pimpernel by Baroness Orczy

The River Road by Frances Parkinson Keyes

Vail d’Alvery by Frances Parkinson Keyes

Katherine by Anya Seton

No Angel by Penny Vincenzi

 

 

 

Guest blogger at Romancing The Pen

Today I am Angela Kay Austin's guest at: http://www.com/romancing-the-pen.

I hope you enjoy it,

Guest blog at Romancing the Pen

Today I am Angela Kay Austin's guest at: http://www.com/romancing-the-pen.

I hope you enjoy it,

H is for Historical Fiction

I dislike fiction set in the past in which the characters act and speak as though they are 21st century people.

I enjoy historical fiction which has obviously been meticulously researched and in which the characters behave realistically according to their time.

In my opinion, it is not possible to recreate the past with 100% accuracy no matter how hard a historical novelist tries to do so. However, it is possible to successfully  present the era in which the characters lived  and to get nearly everything right after careful study of the events and economic and social history.

I write historical novels - not period novels in which the background is skimmed over. Although my main characters are fictional they are very much of their time. I show what they wore, what they ate, their religious and political beliefs and much more.

At the moment I am writing Monday's Child the second in my series set in the Regency era and revising a mediaeval novel set in the reign of Edward II. I have also written three novels set in the reign of Queen Anne Stuart who reined from 1702-1714 and have an idea for a 4th novel set in the same period.

So, what are the main categories of Historical Fiction? They are listed in Writing Historical Fiction. How to Create Historical Fiction and Get it Published by Marina Oliver.

Fictional Biographies, Fiction firmly based on Fact, Series - a connecting theme such as a place or a house, Family series - a connecting theme such as a place or house, Sagas, Regencies, Period, Wartime, Westerns, Adventure, Gothics, Paranormal, Timeslip and Crime.

(I omitted Bodice Rippers from the above list because I think they send out the wrong message - at the worst that rape is justifiable if the heroine subsequently falls in love with the hero.)

Historical novelists are fortunate to have a wide canvas to choose from. Personally, I do not want to become stuck in a proverbial rut when writing. My mediaeval novel has a touch of the paranormal in it, a theme I hope to develop in another novel. I'm also considering writing a saga that begins in the early 20th century and or a timeslip.

To conclude, from a very young age history fascinated me and I enjoy writing, reading and researching historical fiction.