by Julia Herdman | Sep 8, 2017 | Arts and Literature, Blog, British History, Literature, Writing about history
Six Rules for Writing Historical Fiction
Historical fiction is a literary genre in which the plot takes place in a setting located in the past. Historical fiction is an umbrella term; though it is commonly used as a synonym for describing the historical novel. Historical fiction also occurs in other narrative formats - the performing and visual arts like theatre, opera, cinema, and television, as well as video games and graphic novels.
An essential element of historical fiction is that it is set in the past and pays attention to the manners, social conditions and other details of the period depicted. Historical fiction writers frequently choose to explore notable historical figures in these settings, allowing readers to better understand how these individuals might have responded to their environments. Some subgenres such as alternate history and historical fantasy insert speculative or ahistorical elements into a novel.
Works of historical fiction are sometimes criticized for lack of authenticity because of readerly or genre expectations for accurate period details. This tension between historical authenticity, or historicity, and fiction frequently becomes a point of comment for readers and popular critics, while scholarly criticism frequently goes beyond this commentary, investigating the genre for its other thematic and critical interests.
When Wolf Hall won the Booker prize some commentators suggested that the term “historical fiction” was itself becoming a thing of the past. So many novels these days are set prior to the author’s lifetime that to label a novel “historical” is almost as meaningless as to call it “literary”.
1. Small details matter more than large ones.
The art of fiction is, in large part, the art of small-scale illusions. Focus on the things that set the period and the character - the snap of a fan, the recoil of a rifle, the sound of the hurdy-gurdy playing in the street. In this quote from The Mistletoe Bride by Kate Moss we are whisked immediately back to the 15th or 16th century with the mention of the lute, viol, and citole, the title of the story tells us it is set at Christmas and the drinking and goose fat glistening on merry faces lets us know everyone is feasting.
‘It is my wedding day. I should be happy, and I am.
I am happy, yet I confess I am anxious too. My father’s friends of wild. Their cups clashing against one another and goose fat glistening on their cheeks and their voices raised. There has been so much wine drunk they are no longer themselves. There is lawlessness in a glint of their eyes, but they are not so far gone us to forget their breeding and manners. Their good cheer echoes around the old oak hall, so loud I can no longer hear the lute or viol, or citole s set out for our entertainment.’
2. Period characters require more than period clothes.
Similarly, just as the exterior world requires research to establish believable, small details, the interior world of a character requires research as well. Good historical stories promise to not only transport readers to a historical setting but to reveal the interior life (the mind, heart and aspirations) of a character. For me, some of the large questions here had to do with interior perceptions: You need to find out how people viewed love and romance in your chosen period. What do your characters expect or want from life.
3. Use common names, not technical ones.
It’s all very well knowing the technical terms for the clothes and accoutrements of the past but if your reader is going to have to Google everything you mention it will spoil the story for them. Remember you’re writing a story to entertain not a history textbook. Let your characters engage with both historical details and their place in society. Not only have them interact with the politics or religion of the day – but allow them full use of their senses to recreate their environment, the smells, sounds and feel of their surroundings is just as important as having them know who was King at that time.
4. Immerse yourself in the culture.
To write historical fiction of any kind – short stories or not – you need to be able to close your eyes and have the past blaze up around you. Always remember research takes time. Research is an investment; you draw on it when you need to. Use it like capital and keep most of it in the bank. Historical accuracy is like quicksand. Stay too long in the same place and it will suck you down and there will be no movement, no dynamism to the story. Too much attention to factual detail is undoubtedly an impediment to literary art. Adam Foulds’s The Quickening Maze is described on the Booker prize website as “historically accurate but beautifully imagined”, as if “historically accurate” implied a literary problem. In some respects it does. Ask a historical author: how do you stop that facts getting in the way of the story? And the novelist, driven by his or her imagination, will offer a wealth of answers. The historian will assure you that the facts are the story.
5. Find experts.
Have fun with research, but do your homework. Use reference books, watch films, read novels of the period. Make sure you’re comfortable with all aspects of the time from politics to illnesses, from food to fashion, from local geography to language (even if you choose not to use it.) Hand in hand with double-checking comes evaluating your sources. If something seems a bit improbable or sketchy, it probably is. Look for another source to back it up. Use the internet wisely. We are so blessed nowadays with the amount of information at our fingertips, the access we have to old maps and stats is amazing. But ALWAYS triple check your facts, be aware of false information and never rely solely on Wikipedia! Use a good mix of primary and secondary sources for both perspective and immediacy and double-check everything. Bad mistakes will reflect on your work even if it is the fault of your source.
6. Historical facts are not the storyline.
Anyone who has tried to make a story out of historical narrative will know it’s impossible. History is the context out of which fiction grows. Fiction is the examination of the human heart as individual characters move through scenes that test – or perhaps change – their souls. History is just the backdrop. Of course, if you’re writing about a real historical person it is necessary to stick to the facts.
by Julia Herdman | Sep 3, 2017 | Arts and Literature, Blog, British History, Crime and Punishment, Literature, Performing Arts, Society, Visual arts
Pirates and Smuggling Fact and Fiction
In the 18th century, the British government collected a good deal of its income from customs duties - tax paid on the import of goods such as tea, cloth, wine, and spirits.
The tax on imported goods could be up to 30% so smuggled goods were a lot cheaper than those bought through official channels. Smugglers operated all around the coasts of Britain. They worked in aggressive, well-organised gangs along the south coast, only a night’s sail from France. The gangs were often too big for the Customs officials to deal with as with the death penalty was a certainty if they were caught so the smugglers were prepared to use violence.
Many ordinary people approved of smuggling or took part in it. Labourers could earn more in a night’s work carrying brandy barrels up from the beach than they could in a month’s hard work in the fields. Others left their barns or cellars unlocked and didn’t ask questions about what was put in there.
Quite respectable people were involved: sometimes for money, sometimes because they didn’t regard smuggling as a crime.
Britain’s most infamous smuggler
Born in 1778 Britain’s most famous smuggler was a man called Rattenbury. He started his life at sea as a fisherman but soon progressed to the more interesting and lucrative trade of defrauding the king.
When he was fifteen he was part of the crew of a privateer but was captured and was taken prisoner by the French, and thrown into gaol. Rattenbury escaped and got back to England.
Rattenbury’s journal recounts many adventures including one where he tricked his drunken French captures into believing they were heading back to France when all the time he was steering the ship to England. As they approached the coast he made his escape by diving into the sea and swimming into Swanage harbour. Once ashore, he raised the alarm and notified the customs authorities that there was a hostile French ship in the harbour!
When Prime Minister William Pitt lowered duties in the 1780s, smuggling became less profitable and gradually the trade began to fall away. Further removal of duties in the 19th century put an end to the kind of smuggling which went on so openly in the 18th century. It seems to be the case that smuggling is always with us. Whenever governments try to stop, or tax, the movement of goods people really want, smugglers will move in no matter how high the stakes.
Fictional Smugglers
Smuggling and smugglers have been a vast source of inspiration for fiction writers. Perhaps the most famous fictional smuggler being, The Reverend Doctor Christopher Syn by Russell Thorndike. The idea for the novel came from smuggling in the 18th century Romney Marsh, where brandy and tobacco were brought in at night by boat from France. Minor battles were fought between gangs of smugglers, such as the Hawkhurst Gang and the Revenue, supported by the army and local militias in South Kent and West Sussex.
The first book, Doctor Syn: A Tale of the Romney Marsh was published in 1915. Three film adaptations have been made of Dr. Syn’s exploits.Doctor Syn (1937) featured noted actor George Arliss. Captain Clegg (1962) known as Night Creatures in the U. S., was produced by Hammer Film Productions with actor Peter Cushing in the lead role; and The Scarecrow of Romney Marsh (1963) starring Patrick McGoohan in the title role.
Modern Smuggling
Smuggling today is probably just as risky as it was in the past, if not more so. Smugglers today use their bodies as a vehicle for drugs and put their own lives on the line in the same way as the smugglers of old.
The number of swallowed drug packages recovered by customs officers at Heathrow airport is usually between 80 and 150 a year. The drugs are wrapped in condoms, balloons or cling-film, forming neat packages about the size of a large grape, and swallowed with syrup to make them more palatable. Couriers take a constipating agent before they embark and tend not to eat during the flight.
In March 2015 the Daily Telegraph online reported on a strange case of modern smuggling. A man was caught trying to enter Spain through Madrid airport with a suspiciously large bulge between his legs in much the same vein as the fictional Derek Smalls played by Harry Shearer in the film Spinal Tap. In this case, the hidden appendage turned out to be half a kilo of cocaine whereas Smalls’ turned out to be cucumber if I remember it rightly.
Julia Herdman writes historical fiction that puts women to the fore. Her latest book Sinclair, Tales of Tooley Street Vol. 1. is Available on Amazon – Paperback £10.99 Kindle £2.42 Also available on:
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by Julia Herdman | Jul 7, 2017 | Blog, British History, Fashion, Society, Theatre, Visual arts
The actress Frances Barton or Frances “Fanny” Barton was the daughter of a private soldier who started her working life as a flower girl and a street singer. As an actress, she performed in taverns and resorted to selling herself as many hard-up women did in those days before she made it onto the stage.
Her first step to success came when she got a job as a servant to a French milliner. Fanny learned about costume and acquired some French which afterward stood her in good stead as she mingled in London’s high society as a famous actress.
Actress Fanny first appeared on the stage was at Haymarket in 1755 as Miranda in Mrs. Centlivre’s play, Busybody. Following that she became a member of the Drury Lane Company, where she was overshadowed by its more established actresses Hannah Pritchard and Kitty Clive. However, Fanny was an she was an ambitious actress and travelled to Ireland where she had her first major success Lady Townley in The Provok’d Husband by Vanbrugh and Cibber. Fanny worked at her trade, she became a consumate actress and five years after she began her career she received an invitation from David Garrick to return to Drury Lane.
Fanny married her music teacher, James Abington, a royal trumpeter, in 1759. It was not happy and the pair separated but she retained his name calling herself Mrs. Abington. She remained at Drury Lane for eighteen yearsFanny played Mrs. Teasel in Sheridan’s School for Scandal making the role her own. She also played Shakespearean heroines – Beatrice, Portia, Desdemona and Ophelia and the comic characters Miss Hoyden, Biddy Tipkin, Lucy Lockit, and Miss Prue. Mrs. Abington’s Kitty in “High Life Below Stairs” put her in the foremost rank of comic actresses, making the mop cap she wore in the role the reigning fashion“.
This cap was soon referred to as the “Abington Cap” and frequently seen on stage as well as in hat shops across Ireland and England. Adoring fans donned copies of this cap and it became an essential part of the well-appointed woman’s wardrobe. The actress soon became known for her avant-garde fashion and she even came up with a way of making the female figure appear taller. She began to wear a tall-hat called a ziggurat adorned with long flowing feathers and began to follow the French custom of putting red powder on her hair.
An example of Fanny’s influence on fashion - the high ziggurat style hat.
Sir Joshua Reynolds painted her as Miss Prue a character from Congreve’s Love for Love. The portrait is the best-known of his half-dozen or more portraits of her. In 1782 she left Drury Lane for Covent Garden. After an absence from the stage from 1790 until 1797, she reappeared, quitting it finally in 1799. Her ambition, personal wit, and cleverness won her a distinguished position in society, in spite of her humble origin.
Source; Wikipedia
Illustrations: Fanny Abington, Joshua Reynolds, Portrait of Marie-Dauncey,1789, James-Northcote, Fanny as Miss Prue, Joshua Reynolds.
Julia Herdman writes historical fiction that puts women to the fore. Her latest book Sinclair, Tales of Tooley Street Vol. 1. is Available on Amazon
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by Julia Herdman | May 30, 2017 | Blog, British History, British Royal Family, Marriage, Politics, Romance, Society
Secret and Clandestine Marriage
A clandestine or illicit marriage is a plot device in many 18th and 19th-century stories, think of Jayne Eyre and Mr Rochester, but what seems like the work of fiction was a fact of life for women from all social classes in 18th Century Britain. No one knew who was married to whom until the law of marriage was changed. Even the Prince Regent tried to marry a woman clandestinely and illegally.
On May 11, 1786, the Coachmakers’ Hall, Debating Society debated the following proposition: “Are not the Restraints contained in the Marriage Act, and every other Restriction on the Matrimonial Contract, contrary to the natural Rights of Mankind, and injurious to Conjugal Felicity?” Someone at the Coachmakers’ Hall was clearly stirring the pot of civil discord that evening as the formalities prescribed by the Act were hardly novel, and had been observed even when they were not essential to the validity of a marriage, and the protection afforded by the previous law was not as generous as many who wished to deviate from the new law claimed.
The Marriage Act
The Marriage Act 1753, popularly known as Lord Hardwicke’s Marriage Act, was the first statutory legislation in England and Wales to require a formal ceremony of marriage. The Act came into force on March 25, 1754, making compulsory the reading of the banns, and the registration of a marriage and its witnesses for the first time.
Before the Act, the legal requirements for a valid marriage in England and Wales had been governed by the canon law of the Church of England. This had stipulated that banns should be called or a marriage licence should be obtained before marriage and that the marriage should be celebrated in the parish where at least one of the parties was resident. However, these requirements were not mandatory and the absence of banns or a licence – or even the fact that the marriage was not celebrated in a church – did not render the marriage void. The only essential requirement was that the union be celebrated by an Anglican clergyman. So this left a lot of scope for clandestine marriages and for the wedding of those who were technically under the age of legal consent which was 21 at the time.
The King’s Secret Marriage
Maria Fitzherbert (July 26 1756 - March 27 1837) became the wife of George, Prince of Wales, the future George IV in extraordinary circumstances. Maria came from a respectable Roman Catholic family and was educated in France. She had been married twice before when she met Prince George. Maria married Edward Weld, who was sixteen years her senior, and the wealthy Catholic owner of Lulworth Castle in July 1775. Weld died just three months later after falling from his horse leaving Maria penniless. Her new husband had failed to sign his Will, so his estate went to his younger brother.
Maria, now a widow was left effectively destitute. She received little or no financial support from the Weld family and was obliged to remarry as soon as she could. Three years later, she married again. Her second husband was Thomas Fitzherbert of Swynnerton, Staffordshire who was ten years her senior. They had a son but he died young and then she was widowed again in 1781, but this time she got an annuity of £1000 and a townhouse in Park Street, Mayfair.
In 1783 George, Prince of Wales became infatuated with her after meeting her at the opera. The licentious Prince, he wanted her to become his mistress, but Maria’s devout Catholic beliefs would not allow it. So on December 15, 1785, they were married in a secret ceremony conducted by Robert Burt, an impoverished curate who set aside his scruples for the £500 fee.
The marriage was not legal. It not only contravened the 1753 Marriage Act it was also in breach of the Act of Settlement of 1701, preventing a Roman Catholic from ascending the British throne and the Royal Marriage Act of 1772. How George thought he was going to get away with is a mystery and how Maria could believe she was being married to a Prince of the realm legitimately in such circumstances is beyond belief.
The Illegally Married Couple
George and Maria spent much of their newly married life in Brighton where Mrs Fitzherbert was treated like a queen. Whether she was ignorant or deluded concerning her position is unknown, she never spoke of it. George’s intentions were never earnest, he always had an eye for the ladies.
The couple finally separated when George’s affections turned to Frances, Countess of Jersey in 1794. Their illegal marriage was finally put asunder when George married his cousin Caroline of Brunswick in 1795.
Five years later, in 1800, Maria and George were reunited as George could not stand the sight of his legal wife, Caroline.
By 1807, the Prince’s affections were wandering again, this time towards Lady Hertford. Unable to bear any further humiliation, on December 18 1809, Maria sent George a farewell letter and departed from Brighton where she and the Prince were living.
Following the death of George IV on June 26 1830, it was discovered that he had kept all of Fitzherbert’s letters, and steps were taken to destroy them. Fitzherbert told George IV’s brother, King William IV, about their marriage and showed him the documents in her possession. He asked Fitzherbert to accept a dukedom, but she refused, asking only for permission to wear widow’s weeds and to dress her servants in royal livery. The architect William Porden created Steine House for her, on the west side of Old Steine in Brighton where she lived from 1804 until her death in 1837. The king’s unofficial wife was buried at St John the Baptist’s Church in the Kemp Town area of Brighton.
Julia Herdman writes historical fiction. Her latest book Sinclair, Tales of Tooley Street Vol. 1. is Available on Amazon – Paperback £10.99 and on Kindle.
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Princess Sophia Dorothea the Uncrowned Queen of Britain
Dress to Impress Princess
by Julia Herdman | May 26, 2017 | Arts and Literature, Blog, Europe, France, Literature, Marriage, Politics, Romance
Voltaire, the great rationalist, was always falling in love and had numerous love affairs. His love life began with great passion when he was just seventeen years old.
‘Voltaire in Love‘ is perhaps the best known work about his love life. It is a popular history of the sixteen-year relationship between Voltaire and the Émilie, the Marquise du Châtelet. I wrote about Emilie last month, she was a great physicist who died tragically young giving birth to her lover’s child (not Voltaire’s their affair was long since over). The book was written by Nancy Mitford and first published in 1957. As well as telling the story of Voltaire’s love for Emilie it explores the French Enlightenment.
A musical featuring the music of Leonard Bernstein with contributions from the greatest lyricists of the 20th century, Stephen Sondheim to Dorothy Parker, is an outrageous musical satire that tells the story of Voltaire’s character, the naïve Candide, who is banished for romancing the Baron’s daughter only to be plagued by a series of absurd hardships that challenge his optimistic outlook of life and love. Candide will leave you enchanted. As you will see from the letter below the story is somewhat based on his own experience.
In my novel Sinclair, Voltaire (1694-1778), the French philosopher is one of my eponymous hero’s favourite authors. He takes a copy of Candide to India with him and loses it when the ship goes down but once he’s established himself in Tooley Street he’s quick to buy himself another copy.
“Knowing there was no going back, he made himself comfortable. He lit his lamp, took out a battered copy of ‘Candide’, his favourite book, and checked the hour with his treasured pocket watch. Like the book, it was French, and the most beautiful thing he had ever owned. He cradled it in his palm. The warmth of its golden body reminded him of the smoothness of a woman’s skin; its pearly white face was elegantly marked with Roman numerals; and the back, the part that he loved most of all, was made of cobalt blue enamel and shimmered like the silk of Iona McNeal’s ballgown the night they had danced at the Edinburgh Assembly Rooms. He turned it in his hand and kissed it then he put it back in his waistcoat pocket and started to read.
He chose the scene where Candide, the hero of the story, and his professor friend, Dr Pangloss, are nearly drowned in Lisbon harbour along with a sailor called Jacques. Candide and Pangloss survive, but Jacques dies attempting to save a fellow sailor. To explain how this is all part of God’s harmonious plan, Pangloss says that Lisbon harbour was created specifically so that Jacques could drown there and fulfil God’s divine plan for him. This was an idea so preposterous, like so many in the book, that it made Sinclair laugh out loud.”
Voltaire was incarcerated in the local prison for his own good to keep him away from the girl he had fallen in love with,Olympe Dunove. Olympe’s mother and the French ambassador disapproved of their relationship. Such was the power of French aristocrats before the Revolution. Shortly after he wrote the letter below, he managed to escape by climbing out of the window.
Voltaire to Olympe Dunover, written in 1713 while in prison in the Hague.
“I am a prisoner here in the name of the King; they can take my life, but not the love that I feel for you. Yes, my adorable mistress, to-night I shall see you, and if I had to put my head on the block to do it.
For heaven’s sake, do not speak to me in such disastrous terms as you write; you must live and be cautious; beware of madame your mother as of your worst enemy. What do I say? Beware of everybody; trust no one; keep yourself in readiness, as soon as the moon is visible; I shall leave the hotel incognito, take a carriage or a chaise, we shall drive like the wind to Sheveningen; I shall take paper and ink with me; we shall write our letters.
If you love me, reassure yourself; and call all your strength and presence of mind to your aid; do not let your mother notice anything, try to have your pictures, and be assured that the menace of the greatest tortures will not prevent me to serve you. No, nothing has the power to part me from you; our love is based upon virtue, and will last as long as our lives. Adieu, there is nothing that I will not brave for your sake; you deserve much more than that. Adieu, my dear heart!”
Arout, (Voltaire)
According to Victor Hugo: “To name Voltaire is to characterize the entire eighteenth century.” Goethe regarded Voltaire to be the greatest literary figure in modern times, and possibly of all times. According to Diderot, Voltaire’s influence on posterity would extend far into the future.
Napoleon commented that till he was sixteen he “would have fought for Rousseau against the friends of Voltaire, today it is the opposite…The more I read Voltaire the more I love him. He is a man always reasonable, never a charlatan, never a fanatic.”
Frederick the Great commented on his good fortune for having lived in the age of Voltaire.
Catherine the Great had been reading Voltaire for sixteen years prior to becoming Empress of Russia in 1762. In October 1763, she began a correspondence with the philosopher that continued till his death. The content of these letters has been described as being akin to a student writing to a teacher.Upon Voltaire’s death, the Empress purchased his library, which was then transported and placed in The Hermitage.
In England, Voltaire’s views influenced Godwin, Paine, Mary Wollstonecraft, Bentham, Byron, and Shelley.[195] Macaulay made note of the fear that Voltaire’s very name incited in tyrants and fanatics. Voltaire was a man of reason and passion just like my character Sinclair. You can read about his escapades in my novel - see below.
Julia Herdman writes historical fiction that puts women to the fore. Her latest book Sinclair, Tales of Tooley Street Vol. 1. is Available on Amazon – Paperback £10.99 Kindle £2.42 Also available on:
Amazon Australia
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Amazon USA
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