My weaponry?
I often hear about medieval fiction writers’ extensive collections; be it medieval Playmobil, Lego, Roman armour, weapons…
I often hear about medieval fiction writers’ extensive collections; be it medieval Playmobil, Lego, Roman armour, weapons…
I was very lucky recently to be given a proof copy of Dreamer’s Pool (Book One of the new Blackthorn and Grim series) by Australian historical fantasy author, Juliet Marillier.
It wasn’t a review copy, it was just a giveaway, and I was thrilled because Marillier has been an absolute favourite writer of mine since I read the first book of The Seven Waters series: Daughter of the Forest many years ago.
Daughter of the Forest was based on the fable The Six Swans and I realised at that point that one can set Marillier far apart from many other fantasy writers. She takes the fable and weaves such threads through it that it becomes a seamless part of the original legend. One cannot separate one from the other. She is quite simply brilliant at the art-form.
In a world where Others play with mortal lives, in a hidden province that survives on the backs of abducted slaves, Isabella, one of those stolen folk, sends a message woven into rare cloth made of paper and silk, in the vain hope that her cousin will find it, decipher it and rescue her.
Today the postman arrived with a huge sack.
Sent by the publisher for me to use for giveaways etc.
Very exciting.
Aaaand:
The proof copy of A Thousand Glass Flowers.
Both books should be available through all good bookstores in about 14 days.
Lately I had cause to pull out the WIP of The Chronicles of Eirie Book Four. I noticed something glaring, something I had never honestly thought about before. Alongside this WIP (I write in longhand and then transcribe, editing in the process), I laid the WIP of Book Two of The Gisborne Saga – different genre, different characters, different world.
Writing the last part of Gisborne, I’m second guessing myself constantly. Is my language anachronistic, are my facts solid, how much variation from the accepted history am I allowed?
Recently I was re-reading the dates of Richard 1st’s reign and found that he was crowned in September of 1189. So… the beginning of autumn. That now requires me to go right through the whole novel to change the season in which Ysabel travels through France and England with Gisborne from autumn to summer.
That doesn’t just involve changes to the settings (eg colour of leaves on trees) but the kind of foods available, the clothes one might wear, journeys on the high seas, how thick a horse’s coat is, what flowers might be blooming, the presence of certain seasonal ailments and so on. In addition, I am now having to do a lot of counting of days and months so that the story ends at just the right point of factual history.
For me, so new to this venture, I read and re-read what I have written. Anything I am remotely unsure of I will change to red type so that I can re-read my research and insert the correct fact in the next edit. Even so, I am aware the true historical fictionistas, those whose reading and knowledge is exceptional, will find plenty to dispute and argue about.
Blondel de Nesle, Richard’s troubadour, appears in this novel and I can find no account of his physical attributes. Because he is a favourite of the king, and because Richard himself is known to have been golden and attractive and potentially bi-sexual, I am taking a great liberty and making Blondel to be lithely good-looking, bordering on the feminine. I am waiting for the trip-up, I can tell you.
Writing hist.fict is wonderful satisfying but it’s also a terrifying prospect releasing a historical fiction novel to a reading public that may know as much as, if not more than you. So much is known, so much must be respected. In many ways I’m glad my main character is essentially a character of legend as that gives me room to play, but with others like Richard the Lionheart, I am hamstrung by history and can deviate little from what is known.
I’m just wondering what other little gems I shall find on tomorrow’s read.
Gisborne deserves to be placed in its timeframe. What began as a bit of fun has now moved from fan-fiction to historical fiction, historical romance and historical fantasy. Despite the fact that the legend is just that, a myth, Gisborne -the- man- of -folktale lived during the reign of Richard Lionheart and so must be placed within that period.
As the writer, I was beholden to research the period in detail: clothes, time, religious practice, food, habits, entertainment, sex, medicine, politics, trade. More and more detail to get a sense of where my protagonists lived and how they might feel in that environment at any one moment.
Stacking some of the books
The more I read, the more I found to read until I felt myself drowning in books and in PDF’S from online research.
Drowning!
So how does one sort the stuff out, how much does one use? Is too much enough, or is a mere snifter required?
To be honest, I am not sure I know. I ‘ve read the doyen of historical fiction, Dorothy Dunnett with relish and literally gorged on every glorious fact she included in every line of all of the books she ever wrote. And at the other end of the scale I’ve read authors like Posie Graeme Evans and YA writer Felicity Pulman who write with a deft and sparing hand, never drowning the writer in fact; delivering just enough to give an authentic sense of time and place.
So again I ask, how much is enough? I’ve been involved in a lively discussion on Goodreads with the Historical Fictionistas about just this and personally as a reader I know I’ll accept an average amount of researched fact that any writer might want to give. Not too much. The exception to this personal reading rule is DD because it is very much her style, her tone. But as a writer writing my first ever historical fiction novel, I am still unsure how much is required. Without doubt the research must be used correctly; there shouldn’t really be any excuse for saying the clock chimed if the clock didn’t exist in the timeframe. But equally do I really want to know the detail of the canonical hours and how they worked? I love to eat chocolate but I’m not in any great need to read how its created.
My absolute favourites.
My narratives are character driven and I am inclined to only ever give enough fact to give the scene and the character veracity. I’d love to know what other historical fiction writers and readers feel about this and welcome comment! How much, dear reader, do you want to read? How much dear successful hist.fict writer, do you use in your novels?
To date, I have read 48 non-fiction texts that I have either bought, borrowed from the library or researched within the Reference Library and I’ve read over 20 PDF’s online. If nothing else, I shall have a head full of leads for another story and know the difference between chausse and bliaut!
Addendum: You might like to look at :
http://www.goodreads.com/author_blog_posts/1124578-facts-in-fiction
and also:
To those who’ve been reading Gisborne as it appeared on the blog, I thought you might like to see how its changing as it travels through its first edit. The first thing to notice is that the story now begins right when Ysabel first meets Guy of Gisborne at the time she receives news of her mother’s death. That convoluted back and forth style of previously has now been replaced by a plain linear narrative.
The shortstory has now been published by Bo Press in a robust miniature form and I am delighted with what the studio has created. It portrays the essence of Gisborne’s place in the medieval era beautifully and given that my Gisborne has a predilection for illuminated manuscripts, is even more apt. 
I ordered one immediately but really feel I should order another and send it to Richard Armitage via his agent. Has anyone got the agent’s address?