The Clearwater Inheritance: Working on the first draft
I am currently at 90,000 words of the first draft of ‘The Clearwater Inheritance’, the Clearwater Mysteries, Book Ten. I thought you might like to know how it was going and what research has gone into what promises to be the longest of the Clearwater novels.
I will have to be vague about some aspects of the story because I don’t want to give away any spoilers. I’m sure you’ll understand. What I can tell you, though, is that this may be the last of the Clearwater mysteries as we know them. I have an idea for a second series of books set in the Clearwater world, but with new characters, and we will see how that develops once ‘Inheritance’ is done and dusted.
Developing the Cast
The series started in 1888 in London’s East End during the Ripper’s terror, and what started as a standalone insta-love story soon took on a life of its own. It was to be about two main characters, a street-rat renter, Silas Hawkins, and a young viscount, Clearwater. Halfway through writing ‘Deviant Desire’, however, I started to enjoy the research and characters so much, I decided to write a sequel. Andrej (Fecker’s) character took on more significance, and so did that of Thomas, the footman and life-long friend of Clearwater (and, if we are to be honest, the unrequited love interest).
For book two, ‘Twisted Tracks’, I wanted Thomas to have his own love interest and was already considering the background to book three, part of which I wanted to set around the famous Cleveland Street Scandal. Thus, when book two opens, we meet a messenger, James Wright. Each character has his own flaws and skills, but the characters develop through a series of trials, tribulations, successes and failures, and are still developing. Book seven, ‘Home From Nowhere’, introduced two more main players, Jasper Blackwood and Billy Barnett, bringing the ‘canonical five’ MCs up to seven. With ‘Negative Exposure’, the number of episodes in the series reached nine plus one prequel.
The stage is set for part ten, and it will be something of an epic.
The Clearwater Inheritance
The story starts at the end of book nine, and the challenge is set in the last few lines of ‘Negative Exposure.’
‘The person who holds our future in the stroke of a pen goes by the name of Cooper Raglan.’
You will find that some storylines and character’s personal journeys in book ten were started as far back as the prequel. For example, ‘Inheritance’ is set in January 1890, but one through-line has its roots in 1881. The on-going story of Archer’s maniac brother, Crispin, comes into play, as does his mother’s death, his ancestry and Larkspur Hall. The ‘crew’, now of seven main players, must employ all their individual skills to survive the story, and you’re going to find some of my favourite devices and settings.
There is a mystery, of course, and there is a code to be deciphered. Music again plays a big part in the story, as do the railways, and there is a legal element to be figured out. Although I have part-invented some of the legalities because the laws around inheritance have never been easy to understand or explain, I’ve put that matter in the hands of Sir Easterby Creswell, the barrister, because he has a knack of explaining things in one or two sentences. A castle is also involved, but not just any old castle. I have mixed fact with fiction and have sent two of my characters to Rasnov, which is now in Romania. In 1890, I believe, it was in Transylvania.
What there isn’t in ‘Inheritance’ is a love story, and so, what started out as an MM romance series with ‘Deviant Desire’, has now become a mystery series with one underlying love theme. Not a romance, as such, but something I find romantic. And that is, the love of friends, particularly, male love of male friends, what we might now call bromance. Some of my pairs are still in love with each other and always will be, but the series has always been about (mainly) gay men bonding as men. Being set in 1888 to 1890, it’s set against the background of homosexuality being illegal (and not yet even being called homosexuality). That has always been the canvas on which the Clearwater world is painted. That and the class divide, the upstairs/downstairs world, the Liberals against the Tories, equality versus snobbery, right against wrong, and acceptance.
That’s some background. Now we’re on a research tour.
I started ‘Inheritance’ with a timeline plan because I knew that there were to be three main storylines, and I needed to keep track of where everyone was at any one time. I have used the technique of telling parts of the story through letters, as characters do in Bram Stoker’s Dracula. This is a handy device for a few reasons.
One, letters can impart exposition to the reader without bogging down the action. Two, readers get into the character’s mind. Three, they give the narrative a sense of time and place – of being real. Four, letters can be intercepted or lost, thereby adding to the tension.
However, only part of the ‘Inheritance’ narrative is presented in letters, unlike ‘Dracula’, which is an epistolary novel (written as a series of documents). If you want to read one of my completely epistolary novels, then I point you to ‘The Stoker Connection.’
For realness, I have again used genuine sections from newspapers of the time which I find in the British Newspaper Archives. You need to subscribe to get the full benefit, but it is well worth it. I also find background information such as costs and times of trains, adverts for medicines and other matters, reports of concerts and events, and all these small details make the story more real.
Musical Code & Philip Thicknesse
I swear I did not make up that man’s last name!
The outcome of Clearwater’s problem in ‘Inheritance’ relies on the cracking of a code. In this case, a musical code, and so, I needed to turn my mind to how this might be achieved. Did you know, JS Bach, Mozart, Brahms and others employed codes so they could write messages in their music? Bach’s use of code is quite famous and yet simple.
There are seven letters employed in musical notation, A to G, but in Bach’s time, the note B-natural was named H, and B-flat was B. Thus, Bach was able to score B-flat, A, C, and H (what we now call B), and thus make his name, BACH, sound as a melody. Brahms wrote the name of his (assumed) lover in one of his pieces, minus one letter, and there are all kinds of theories around what Mozart may have done in The Magic Flute.
I didn’t want my musical code to be too complicated because although it might be fun for me to be devious, overly-clever codes need explaining to the reader, which bogs down a narrative. While inventing my code, though, I turned up a book from 1772 by a man called Philip Thicknesse. This has the snappy title of “A Treatise On The Art Of Deciphering, And Of Writing In Cypher: With An Harmonic Alphabet”, and you can find it at Forgotten Books and other outlets. I’ll be honest, I haven’t read all of it yet, and it’s not an easy read, what with the letter S printed as an F and all that florid language, but it did set me on the right track for the simple code around which I could base the mystery.
Another facet of ‘Inheritance’ is the location. Rather, locations, because I have set the story in three. London, Larkspur Hall and Europe.
Europe. I mean, how big does an author want their location to be? In my story, two of the characters must travel from Cornwall to what is now Romania and back, and in 1890 the way to go was by train. Actually, by several trains and a boat, plus a carriage or two, and their final destination is, of course, a remote one.
For train information, I again turned to my expert friend, Andy Ward, and asked him how long such a journey would take. In a nutshell, the answer was, It will take 107 hours to get from Bodmin to Brasov/Brasso, including a 15 hour overnight stop in Vienna. My characters then only have to travel ten miles to Rasnov castle. Coming back, it’s quicker because there are only 5 hours in Vienna, but the route is similar, total time 96 hours.
In the story, my characters stop off in Paris for a night. They are invited to the Hofburg, the Emperor’s palace in Vienna where they meet Brahms, sleep the night at Budapest railway station, put up at a guest house in Brasov, and travel through the worsening influenza pandemic which was still running riot across Europe in 1890. Oh, and it’s January, remember, so it’s cold and not at all comfortable.
London. Meanwhile, two other main characters are dispatched to London to search the Clearwater archives kept by the solicitor, Mr Marks. While there, they must interview the barrister Creswell to see if there are any archaic inheritance laws that may stop the villain from doing what he intends to do. This sees one of our MCs accidentally appearing in the High Court (because I do like a courtroom scene), and brings in a couple of other cameo characters we’ve met in previous novels.
Larkspur Hall. The viscount’s country home is a large, rambling pile of mixed architecture and history which deserves a novel all of its own. In ‘Inheritance’, we get to meet some new staff and find out more about the Hall, which we’ve only been to briefly in ‘Fallen Splendour’ and for longer in ‘Bitter Bloodline.’ I have not yet mapped the Hall, although its basic plan is in my head, but I have used various sources for inspiration, mainly ‘The Victorian Country House’ by Mark Girouard, which has very informative text and plenty of excellent images and plans.
I have my A4 notepad beside me as I write this blog, and in it, I have several pages of notes and reminders I have made along the way. This is without the Word documents and other electronic things I have in my ‘Book 10′ folder. They include Thicknesses’ book in Pdf, maps of Eastern Europe from the late 19th century, and another book which was exactly what I needed, ‘Travels in Various Parts of Europe During the Years 1888, 1889 and 1890’ by Gilbert H. W. Harrison. (Google books.) He gives accounts of travelling from London to Paris, to Vienna to Budapest, and that’s the route I have used for my two characters, who had their journey set up by Thomas Cook and Son of the Strand. You see? I like to keep it real.
Meanwhile, my notes. Here is a snippet of what goes through my mind when I am creating one of my mysteries, as found in my scrawly handwriting.
Billy sniffing. Flu later?
Silas does this without Archer knowing. (Does what? I have no idea, I can’t remember now.)
Code? 12 major, 12 minor = 24 x two volumes = 48. 1 x P + 1 x F = 2 x 12 = 24.
1859 Archer, 1829 dad, 1800 grandfather.
Count Movileşti (real family, Moldavian).
The Hall 14th century, tower, main hall. Abbey. Celtic monks, St Crannock pre 1066.
James’ birthday, Jan 10th, he’s just turned 27.
Freiherr (baron) Kubinsky.
A B C D E F G
And then, in a box of its own: Remove Duncan from story and use later.
Onwards to the future…
Duncan is a day-player we meet briefly in book nine, and I wrote him in intending to use him in book ten. The trouble is, he doesn’t now fit, and so, I have decided I may bring him into whatever comes after book ten.
That may well be ‘The Larkspur Academy Mysteries’, but on that subject, I shall remain quiet for now, because, as I finish, I have two characters in a blizzard in Transylvania, three suffering in the Clearwater Archive in Chancery Lane, a sick housekeeper, a broken telegraph system, huge news from abroad that’s about to cause the final countdown to kick in, and somebody vital has started to feel very unwell.
My characters are waiting for me. I have left them in limbo and must go and see to them.
Oh, before I do. One last thing. As ‘The Clearwater Inheritance’ includes the cracking of a musical code, the character of Jasper Blackwood plays a large part. Jasper, or Pianino as Fecker calls him, is 18 and a musical genius. This coming Wednesday, 31st March, you can find an interview with him over at the MM Fiction Café.