Elyse Mady writes fairly * ahem * adventurous (otherwise known as menage) historical fiction, and her first title, The Debutante’s Dilemma, just came out this week. She wrote this terrific article on adapting your writing to the historical times in your novel, and I knew I just had to host her. Elyse blogs at www.elysemady.wordpress.com about writing, research and romance novels, both historical and contemporary. You can reach her by email at firstname.lastname@example.org or find her on Facebook for updates and upcoming titles .
One woman in search of passion
Miss Cecilia Hastings has achieved what every young lady hopes for during her first London season…in duplicate! She’s caught the eye of not one but two of England’s most eligible bachelors. Both Jeremy Battersley, Earl of Henley, and Richard Huxley, Duke of Wexford are handsome, wealthy and kind, the epitome of proper gentlemen. But Cecelia doesn’t want proper, she wants passion. So she issues a challenge to her suitors: a kiss, so that she may choose between them.
Two men in love with the same woman
Friends since childhood, and compatriots on the battlefields of Spain, falling for the same woman has set Jeremy and Richard at odds, and risks destroying their friendship forever. But a surprising invitation to a late-night garden tryst soon sets them on a course that neither of them could have anticipated. And these gentlemen quickly discover that love can take many forms…
Getting a Word in Edgewise
by Elyse Mady
Everyone knows that single guys who are making a good living want to get hitched.
Or to put it in more familiar terms, “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”
See the difference between the thought expressed in contemporary terms and the immediate impact the same idea has couched in the Regency terms that the author, Jane Austen, used? With one sentence, thanks to subtle clues conveyed by word choice, syntax and grammar, in both versions we know when the story is taking place and if the sentence is really good, sometimes even by whom and why. That’s a ton of information conveyed just through some carefully chosen words, so how can you replicate its impact in your own writing?
Authors are often exhorted to spend a lot of time world building when they’re writing their manuscripts, especially if their characters inhabit realities distanced from our own by time (historicals and futurist stories), alternative realities (magic and fantasy) or technology (sci-fi and steampunk) so that their worlds are coherent, deep and rich. But I’m of the firm opinion that word building is just as important, if not more so.
So, what exactly is word building? Well, let me give you an example from my most recent story, “The Debutante’s Dilemma”. Here’s how I described the heroine in the opening paragraphs:
Miss Cecilia Hastings was the luckiest girl who had ever lived to draw breath.
This was the near-universal assessment of the five hundred guests who found themselves crushed into Lady Stanhope’s lavish ballroom like so many potted fish on this early June evening.
That the young lady was well-favoured, with a tall, even figure, a smooth throat and milk-white skin, striking grey eyes and dark chestnut hair, there was no doubt. Just eighteen, Miss Hastings was everywhere lauded for her calm manners and her unerring ability to navigate London’s treacherous social shoals while appearing neither missish nor imperious. She danced divinely. She both sang and played the pianoforte. She could read Italian and spoke French beautifully. She befriended those wealthy and modest, with equal disregard for their particular standings. Her sartorial sense was unmatched and her dresser had been offered no less than a half-dozen bribes if she would but reveal the secrets to her mistress’s beauty regime.
Without any other details, most readers would recognize this as a historical novel, set in London amongst a group of wealthy individuals who attend balls and other grand social events. They learn this in two ways: firstly, through the factual details like description and setting but secondly, and more subtly, through how the story is written. It isn’t enough then to simply convey facts about the world or the characters themselves: Cecilia Hastings is considered lucky, she’s pretty and dresses well and treats everyone fairly. Instead, I’ve carefully replicated not only period terms like being ‘well-favoured’ and ‘her mistress’s beauty regime’ but mimicked its syntax and phrasings, too. This creates (hopefully!) an immersive experience for the reader, that allows them to be transported seamlessly into the story’s setting. This process occurs in every story but it’s more evident in stories where the characters inhabit a world that is distinct from that of the readers.
So, how do you do this convincingly? After all, no author wants their book or their characters to sound like a bad actor, trying on an accent that wavers and disappears erratically (Are you listening Kevin Costner? ‘Cause I’m talking to you!). So go slowly and work on building your ‘ear’ and your ‘eye’ for period styles gradually, at a pace that’s comfortable for you. Otherwise you run the very real risk of alienating your reader and drawing unwelcome attention to the cobbled-together and ‘borrowed’ nature of your storytelling.
Here are five easy tips for historical writers on how they can develop their word building skills in their manuscripts. But have no fear – these tips are also great for sci-fi writers and steam-punk writers and well, frankly writers of all stripes!
1. Get Lost in a Good Book
It isn’t enough to read historical romances written by contemporary authors. They may have lots of good research behind them but the only way to really get a sense of how people wrote and spoke is to read, read, and read some more from authors published during the era you’re replicating. For Regency buffs, Jane Austen is a great and accessible starting place but don’t neglect other great authors from the period like Maria Edgeworth, Ann Radcliffe, Samuel Richardson and Frances Burney. For Victorian eras, authors like George Eliot, Charles Dickens, Nathaniel Hawthorne, Mark Twain and the Brontë sisters are all wonderful while the Gilded age has some spectacular writers including Edith Wharton and Henry James to explore. Almost all of these books are available in free online editions but if you’re intimidated by the thoughts of tackling a ‘classic’, look instead for a modern edition published by Oxford University Press or Cambridge University Press. Their editions usually include footnotes to help decipher unfamiliar dates and events, plus a glossary for strange terminology.
2. Dear Diary
We forget in this age of instantaneous communication how ubiquitous letters, diaries and travelogues were prior to the days of easy communication but there are literally hundreds and hundreds of published letter and diary collections by historical figures large and small. Unlike novels, these fragmentary documents don’t tell a story from beginning to end but their style is often unguarded and intimate and gives a real window into people’s every day concerns, plus includes the day-to-day undertakings that may be lost in ‘big’ history books. My favourite diarist is Frances Burney, whose wonderfully evocative diaries span nearly the whole of her life in the 18th and early 19th century but a search through any library catalogue or an online database like the Internet Archive will reveal many, many more.
3. Read All About It
Newspapers and magazines are another fantastic resources to get a sense of the period’s concerns and writing style and how they convey information in short concise bursts. They’re also a great inspiration for story ideas – I’ve discovered a whole host of inspiring true-life ideas just by perusing old articles. Best of all, many newspaper archives like the London Times and the New York Times are online now, which makes searching them as simple matter.
4. All the World’s a Stage
Plays are a perhaps the best way to understand speech patterns from whatever period you’re exploring. Whether you’re chuckling over Sheridan’s “School for Scandal” or laughing at George Bernard Shaw or Oscar Wilde, remember that the texts are meant to be performed and spoken, so don’t hesitate to read them out loud – you’ll find yourself hearing aural jokes and understanding the pacing and word play of your period better than ever. And if reading it out loud doesn’t appeal, never fear; many classic plays are available in audible versions that make taking them in as easy as popping in a CD or downloading them from sites like Audible.com
5. You Just Can’t Make this Stuff Up
Finally, I also love printed ephemera for inspiration and word building: sermons, pamphlets, reports, advertising, court documents and the like. They’re windows onto the concerns of the era and they make understanding and recreating the ‘mental’ aspects of your historical characters much easier. You can choose to agree or rebuff the historical talking points but understanding the environment in which your characters find themselves is essential to creating a holistic and believable setting. My favourite sources for these kinds of documents are the Internet Archive, which includes everything from print to sound recordings, images and more and the Gale Digital Collections. The former is free; the latter does require a subscription so be sure and check with your local library or college because many of them subscribe to the research collections and allow community members free access.
Is this article not a wealth of information? Elyse will be popping in all day to answer comments, so don’t be shy about asking questions!
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