This week, I have been researching all manner of facts for ‘The Larkspur Legacy’, while writing a few draft chapters. We’ve also had a major storm and a mild earthquake, neither of which are uncommon in Greece at this time of year. However, nothing stops Jackson Marsh when he is in full flow, and apart from the occasional internet outage, nothing stops the research. Actually, when the internet is out, I turn to my books and read, if necessary, by torchlight.
‘The Larkspur Legacy’ is turning into something of an epic; an end of season double episode, if you like, as it will bring the Clearwater and Larkspur mysteries together and to an end. It’s also a book with diverse points of view, because the main characters get flung far and wide as they struggle to solve the clues and treasure hunt begun in ‘Starting with Secrets.’ So, for that reason, my research has been wide-ranging, and while researching, I came across a few sites that might be of interest to other writers and readers.
Here are some of the subjects I found online while delving into the past this past week. Where I found a decent site, I’ve added the link in case you are interested.
Ships’ bells explained. Did you know eight bells happens six times per day? Once during each of the eight watches, save the first dog watch.
Sea routes and port distances. Ever wondered how long it would take to sail from Alexandria in Egypt to Falmouth in Cornwall? Assuming good weather and a constant speed of 10 knots, this online calculator puts it at 13.7 days.
Those are but a few of the places I have been this week online. I’ve also looked up the causes of death during pregnancy (1890), names of various piece of Egyptian costume, the distance between Mounts Bay and Bodmin, and Greece and Calais, steamships operating across the English Channel in 1891, how to distil oil from garlic and fish, extinct titles of the nobility, and how to sail a barquentine.
Because ‘Legacy’ sees the culmination of both series, I’ve also had to do a lot of back-checking, because the Clearwater cast are in the book along with the Larkspur Academy Men. In particular, one character’s story begun in 1884, comes to a conclusion in 1891. That character has been in every book through the series, if not on stage then off stage and mentioned, and I thought it high time we rounded him off – as it were.
You will see what I mean in due course.
Catch up with my Work In Progress blog next Wednesday and I’ll let you know how close I am to finishing the first draft.
“Today I am serving up a steaming bowl of this is how it is.“
I was sitting here at five this morning trying to decide what to put on the blog today, and not coming up with any ideas. I am currently heading towards the crisis/climax of ‘The Larkspur Legacy’ (first draft), and my head is full of times, dates, relationships, twists, clues and explainers. I don’t have much room for anything else. So, for inspiration, I turned to my collection of folders and files where I sometimes jot ideas, and there, I came across a folder titled ‘The Castle’. Having no idea what this could be, I opened it and found the file:
Cast of characters
The cast of characters also contained a brief synopsis, and here it is:
Fleet saves Alder from a beating. Inventor sees, gives him the chance to escape with him to the distant castle.
Fleet has no choice
Fleet will only go if the mute comes too – Mute wants to, neither have homes/families (at this stage)
Journey at night
Arrive at castle not knowing what’s in store.
Believe it or not, those notes are what led to The Larkspur Mysteries, and in particular, the characters of Fleet and Joe Tanner. It’s always interesting to see how one idea can lead to another. I wrote one chapter of this thing, decided it wasn’t right for this idea, and set it aside.
In the absence of anything else to entertain you with today, I thought I would post some of that first chapter, as a bonus read while you wait for something more interesting to come along. For some reason, I can’t get these pages to layout the text as you’d see it in a book, so apologies for that, and also for the state of this rough draft extract of a chapter that never was – or hasn’t yet been. (It might appear in ‘Barbary Fleet and Other Matters; The Clearwater & Larkspur Companion’ later in the year.)
The year is 1889, the place is London
A penny bought most things in Leather Lane market. A glass of sherbet, a live mackerel, a comb, a crab, or four windfall oranges with skin as discoloured as the winter-bitten cheeks of the hawkers who lined the crowded path between the stalls. Hard-bake morsels and gown pieces, an inch of braid or a soft potato, finest dates from the Arabs with stones to break teeth, and spices from the Indies laced with bean flour and alum. Everything was sought and anything was available.
‘A posey for your lady, Sir?’ Fading aconites offered in a gloved fist across a tray of crumbling heather; a purple gift of poison in flowering form.
‘Enamel buttons for your coat, young man?’ Drilled and ready. ‘Three-a-penny,’ and recently clipped from the jaw of a corpse.
Onions and old iron, scraps and scabbards, lucky tickets to win a slaughtered lamb, or a brace of pigeons hooked by the feet, necks swinging. Kentish turnips and hops, Suffolk fabrics in stash, stack and bundle, Norfolk eels contorting in the melting ice, and Whitstable oysters whistling their asphyxiation on dry, wooden trays.
Hands that grabbed with, ‘Good fortune for you when you buy a bunch, Sir,’ and toothless mouths that spat, ‘Then the devil will take ye, rantallion,’ when answered with ‘No, thank you.’
Barbary Fleet didn’t need heather, whether charmed or cursed, and he was not a rantallion, not that he was able to prove it without exposing himself. He had no need of Arabic dates or doctored anise, twisted twine or dead men’s teeth to fasten his darktail coat, he had come to the market for a purchase of vital importance, and he knew where it was to be found.
So intent was he on his mission, he failed to notice he was being followed.
Edging between the canvas stalls and clouds of smoke wafted from the chestnut braziers, he ducked the awnings of skinned hares and alley cats, left the polluted stream of bargain hunters, and took the pavement. If the market were a cobbled canal of hucksters and tricksters, the pavement behind the stalls was its towpath, quieter and lined by semi-respectable woodcarvers and tailors. Suited men and women in aprons who didn’t need to sing their wares like desperate chanteurs de rue, and grab at every passing farthing as though it were their last chance, but who stood behind tinkling doors folding cloth and blowing dust from chisels with smiles prepared and welcoming.
Fleet didn’t need them either, nor did he need the annoying drips of gutter rain that tapped his hair, or the wind that leapt from alley openings to slap his already pounding head. The piles of rotting offcuts and steaming dog stools were other inconveniences he could have done without as he picked his way towards his destination at Drift Corner, and the pocket-dipping urchins who swarmed at his tails like flies at the midden were as aggravating as his foolishness.
Who wagers their last five shillings on a bait dog? Who, but a romantic dolt would risk home and hunger on a lone pup because he couldn’t resist the lure of the underdog and believed its handler when told the money would save the hound from a fight? Who but Barbary Fleet would cry when the fight was over, not because he had lost everything bar one shilling, but because the pup lay twitching in its own blood, its sad eyes fading? Who, but a lonesome, straggle of a man like Fleet would spend ten of his last pennies on Shadwell gin with no thought for bread or board because he believed everything would come right in the morning?
‘But you saved tuppence,’ he told himself, swiping away the investigations of a pocket-dipper. ‘You won’t find anything in there, young Sir,’ he said, lifting the child by its collar and turning it away. ‘I should try someone whose pockets jangle like sleigh bells, rather than gasp for sustenance.’
Nearing Drift Corner, he reminded himself that, somehow through his drunken stupor, he had saved tuppence for an exceptionally good reason, and that reason was now upon him.
It came in the form of one of the prettiest girls he’d seen in this part of town. A girl not yet twenty but edging towards it with the hope that youth would remain while experience blossomed, and yet, unlike himself, she was short, demur and employed. She stood at the junction with her tray suspended from her waist but just above his knees, rearranging her wares while singing a tuneless air about a variety of knots and the usefulness of brass-tipped laces. Her ochre eyes were fixed nowhere but in her imagination, and her hair was crammed beneath a straw bonnet.
She returned from her daydreaming, and her song ended abruptly when Fleet announced, ‘Your meal ticket for the day has arrived, Miss. Are you eager to attend it with care and quiet, for its head rages like the storm that sunk the Hesperus taking with it the skipper’s pride in the way a dog’s death has wrecked mine?’
The girl blinked at him, and said, ‘What?’ in the same flat, disinterested tone with which most people greeted Fleet.
‘I need two of your penny laces.’
She tutted, and lifted a pair from her tray as a washerwoman might lift a stranger’s soiled underclothes.
‘I thought as much,’ Fleet bowed his head. ‘The clue is in your signage, Miss. There, where it states, “Tuppence a pair.” May I suggest — purely for the entertainment of your clientele — you consider something more akin to a challenge in your advertising?’
‘What?’ That time, it was more of a grunt than a question.
‘For a man whose head is as close to combustion as his stomach, the distraction of a conundrum is more soothing than an apothecary’s powder. Perhaps, if your board simply stated, “Laces” or even, for the uncertain, “Boot laces”, your customers might have cause to enter into an absorbing dialogue, and your trade would entertain as well as serve.’
‘D’you want the bloody things or not?’
The bustle of the market was of more interest to her than conversation, as she swayed the laces and yawned. However, when Fleet opened his coat to retrieve his wallet, her gaze slid back into place. He was tall and slender, but not willowy, and he didn’t dangle like her wares, but held himself erect as if self-assured, which, beneath his well-fitting suit, he was not. The girl’s eyes strayed to and fastened upon, the landscape between the bottom of his waistcoat and the rise of his trousers. It rested there an impolite second before travelling to his face and greeting it with an indecent grin.
‘Or would you rather have me for a shilling?’ She winked, and Fleet sighed.
‘I fear your conversation is as unalluring to me as your sex, Miss.’ He dropped two pennies into her tray, took the laces and twirled them around an agile finger until they were coiled like a ring. ‘And there we have it. I would doff my hat, but it has gone the way of most everything else once in my possession. Should you require a Broadway Topper — an American import, I fear — you will find one at leisure in Cohen’s pawnbrokers just off Drury Lane. Thus, Miss, I can only wish you a good day.’
His laces bought, he looked for a place to raise his feet and insert them into his boots, wondering whether he shouldn’t have used the last of his money on something more practical like a meal, but decided that the appearance of tied boots would be more beneficial to a prospective employer than flapping footwear, and approached a step. Glancing at the engraved glass door, he read, “Mouthgot’s Intricate Plasterwork” and thought it a good a place as any, but wondered, ‘Whose mouth has plasterwork and why so intricate?’
As you can see, Fleet started out as a swaggering, slim youth, which is not how he is portrayed in the Larkspur series. As for the mute, and the Joe Tanner character, he enters this scene as Fleet is tying his new laces. Perhaps I will post that section of the chapter another time. For now, Joe is currently engaged in a treasure hunt along with the other Larkspur Academy men, and as I have left them on pause, I need to get back to them and see what they do next. I’ll let you know more about the progress of ‘The Larkspur Legacy’ on my work-in-progress blog on Wednesday. Have a great weekend.
Oh, and if you don’t know what a rantallion is, Google the word. It’s a fun one to use as a counter-insult.
Happy New Year! I am back to blogging, and kicking off 2023 with an update on what I have been doing.
In the film, ‘Throw Momma from the Train’, Billy Crystal’s character says,
‘A writer writes. Always.’
Well, I say,
‘A writer not only writes but he also researches’,
and that is what I was doing during my Christmas and New Year break.
Athens – a Location for ‘The Larkspur Legacy’
In the next, and final, Larkspur Mystery, some of the characters find themselves in Athens, Greece, and I found myself there only last week. Neil and I went with our logical family, Jenine, and our youngest godson, Harry. (Our elder godson, at 19, opted to stay at home and spend his free time from college with some friends.)
Living on Symi, any journey must start with a ferry, and after walking down to the harbour in the early morning, we took the one-hour crossing to Rhodes. From there, it was a bus to the airport, a 40-minute flight to Athens, and a pre-booked taxi to the area of Thissio and our rented apartment. The next three-and-a-half days were filled with walking, eating, and seeing the sights/sites. Some of those we visited are pictured on the blog today, and one of them will feature in ‘The Larkspur Legacy.’ Even though it’s only for one or two chapters, Athens plays a part, but it is not Athens as we see it now, but as it was in 1991.
One day on our trip, we took a guided walk around parts of the city with a knowledgeable guide, and I asked him what he knew about the city in 1891. From this, I gleaned some information I’d not found in my research, and he took us to the outside of the home of Heinrich Schliemann, the archaeologist who discovered the location of the ancient city of Troy*, among other things. I never knew he was in Athens in 1891, but sadly, he won’t feature in the book because it wouldn’t be relevant.
*[Wiki says: Schliemann was a German adventurer and con man who took sole credit for the discovery, even though he was digging at the site, called Hisarlik, at the behest of British archaeologist Frank Calvert.]
Among the places we visited were the Acropolis (of course), The Temple of Hephaestus in the Ancient Agora, the Odeon of Herodes Atticus, Philopappos Hill, and the site of the original home of democracy, Pynx, the hill overlooking the Acropolis, and the first official meeting place of the Athenian democratic assembly (ekklesia). We also saw the car museum, ate food Indian, Chinese, Greek and Mexican, and, on our last day, visited the famous flea market.
Imagine the joy of wandering antique and second-hand book shops again as I used to years ago in London.
While doing so, I found two books that I have already ploughed through in my search for details of Athens in 1891; one about the Plaka area, and one about mapmakers and mapping of the Aegean. I could have spent the whole four days in these bookshops, but half an hour was all I could manage, otherwise, I’d have broken my bank.
And into 2023
Now, back home, I have taken up my morning walks again, and although they only cover two miles, they give me 40 minutes of alone time. This morning while walking, I unlocked the ‘How are they going to do that?’ part of ‘The Larkspur Legacy’ which has so far evaded me, and now have notes on how that climax is to go.
So, it’s, again, a Happy New Year from me, and not being one for resolutions, I am making no promises. However, for the first half of this year I intend to finish and release ‘The Larkspur Legacy’, bringing the saga to a close by, hopefully, the end of March. After that, I want to produce a Clearwater & Larkspur Companion to tie up any loose ends and give my readers something extra to accompany both series. The working title is currently: ‘Barbary Fleet and Other Matters; a Clearwater and Larkspur Companion.’
And a quick reminder if you would still like to vote for the Goodreads Awards the polls are still open for a couple more days. The links to the categories are at the bottom of this blog post, click here.
I’ll leave it there. There will be more about the work in progress, ‘The Larkspur Legacy’, on my Wednesday blog when I will update you on progress as my writing world gets back to ‘normal.’ Remember…
Today’s blog is all about celebrations, parties, freebies and award nominations. There is a lot taking place in the run up to Christmas, all of it exciting, and I’ve set out all the details below. It starts with an online party in a popular Facebook group…
This Sunday there is a massive party over on the MM Fiction Addiction Cafe Facebook page. Over 100 authors will be dropping in throughout the day introducing themselves and holding quizzes and games. It promises to be a riot of freebies and festive frivolity. I will be joining in the celebrations and it would be great to see you there! The party will take place between 9am and 9pm Eastern Time, which is 4pm – 4am in Greece, 2pm – 2am in the UK (I think?!).
The Small But Mighty MM Romance Group are halfway through their 12 Tropes of Christmas Celebrations. On Tuesday look out for #AgeGap where yours truly will be dropping in to showcase my Mentor Series. Come along and join the fun for a chance to win two books of your choice from the series.
Meanwhile, on my own Facebook page I am still running my advent ‘name the book’ competition.
Every day a new question and all correct answers will be put into my husband’s steampunk hat on Boxing Day and my godson will draw the winner. And now I can reveal that the grand prize will be…wait for it
your choice of a mousemat or mug featuring The Clearwater Book covers. Yes, I thought it was time we try out some merchandising so we have been playing on various websites and trying out some mock-ups. Whoever wins we will personally create your prize and ship it off to you in the New Year.
And if you still have some free time after all those shenanigans please head over to Goodreads where you can vote for your favourite MM Romance authors of 2022. I have been nominated for a number of awards, a huge thank you to those who voted so far! I am listed amongst some of the top names which in itself is a great honour.
Joe and Dalston are nominated in this category. This gives me great joy, I absolutely loved creating these two characters and their relationship really did bring out pure emotion in my writing. I couldn’t have done it without learning British Sign Language, I feel that took my journey with these two young men to a different level. Here’s the link to vote https://www.goodreads.com/…/258374-best-established…
Deviant Desire remains my best-selling book to date, it is so good to see it here as a nominee. Silas and Archer’s relationship started as an ‘insta-love’ but their lives together continue to be exciting and passionate, I have loved telling their story. If you would like to vote for them hit the link https://www.goodreads.com/…/258377-all-time-favorite-m…
ALL-TIME FAVOURITE M/M AUTHOR
Yes! I have made the nominee list, thank you, thank you! Here’s the link to vote fave author
You need to be a group member of the MM Romance group, if you need the link to sign up, here it is
It takes 24 hours to approve your request and be sure to put your date of birth on the sign-up.
Thank you everyone!
After all this excitement, I could do with a lie down, but the truth is, I have left my Larkspur Academy men in something of a predicament, so I had better go and write another chapter of ‘The Larkspur Legacy’ before they get tired of waiting. A proper update will be on Wednesday’s blog.
Hello! I’m not long back from our trip to Scotland, and it’s high time I gave you an update of what’s going on in the world of Jackson Marsh. There’s more about the next Larkspur book in a moment, but first…
On the way to our son’s wedding, I found myself alone in Edinburgh for a day, and there, wandered the old streets and the new, admired the buildings and visited the castle grounds. While on my walkabout, I stopped off at The White Hart, reputed to be the oldest inn in the city and a place where the grave-robbers Burke and Hare used to hang out.
Later, I was just thinking about heading back to my hotel when I stumbled upon the Writers’ Museum. This is a collection of artefacts and information pertaining to three Scottish writers; Robert Louis Stevenson, Robert Burns and Sir Walter Scott. It’s housed in Lady Stair’s House in the Lawnmarket area of the city, and the building is as interesting as the exhibits. I took a few (bad photos) which you can see below.
A few days later, I was in Inverness with my brother-in-law while waiting for Neil and his son to collect us and take us to the wedding. This was held in a castle by the river and was a splendid affair, and yes, I wore a kilt. The architecture of old Inverness along its riverbank was somewhat inspirational, so I’ve included a couple of shots I took there.
Now back at home, where the weather is glorious, I am back at work. I have a backlog of freelance typing to catch up on while I am also going through the final read of ‘Starting with Secrets’, the next Larkspur mystery. I am still aiming to have this ready for you in a week or so—probably more like two—and will send it off for its laying out next week. Andjela has done herself proud with another stunning cover and there will be a cover reveal soon. So, stay tuned to this channel for more information on my Wednesday work-in-progress blog, and prepare yourself for the first half of an epic Clearwater/Larkspur adventure that will conclude in the final book of the series. I am hoping to start on that as soon as ‘Starting with Secrets’ is published.
Meanwhile, here are a few of my dodgy shots of the Writer’s Museum, Edinburgh, and the riverside in Inverness.
When we talk about the Victorian period, we are talking about the years of the reign of Queen Victoria, 1837 to 1901. It was a time of significant change in the United Kingdom. The industrial revolution, the age of the steam train, steam-powered factories, a rise in industry and exploration, inventions, and the growth of the British Empire across the world. It also saw the rise of the middle class, a great divide between rich and poor, and a move from agricultural labouring to factory work for many, because it was in the cities where wealth could be made.
When you’re sitting down to write a novel set in these times, you really ought to know what you’re talking about. Or at least, do your research.
Alison Weir, the writer of many a great historical novel, says that,
“You can’t write a historical novel without being familiar with the sources. You have to have an idea of how people lived. It’s a completely different world and you’ve got to get in the mindset, the zeitgeist, that informs the language.”
If you were writing a book set in, say, the 1990s or 1980s, you may remember what it was like to be around at that time. It depends on your age, of course, but if I was writing about the 1980/90s, I’d remember the clothes, the TV shows, the politics, the way of life, the new-fangled thing like CDs, DVDs and BluRay. I’d know what it was like to be a young person of the time because I was there, so my characters would be drawn from my experience of the zeitgeist, the culture, and the language of the time.
Clearly, I was not around in 1888 when my Clearwater Series begins, so how do I know how the characters spoke? How did I know what the streets of the East End smelt like? How do I know what it was like to exist in a workhouse or live in Belgravia? And how could I tell what it was like to fight a villain on top of a moving steam train hurtling towards certain death?
I didn’t, and I still don’t. Not 100%, because I’ve never fought a villain on the top of a moving anything, and as a novelist, one must use imagination. But your imagination must be confined to the times in which you are writing. I have to admit, when I started writing the historical series, my mind wasn’t 100% in the times because I started Deviant Desire with the intention of setting it all in a fictional London. Now, with the Larkspur Series (and in the later Clearwater books) we are firmly in London and the world as it was at the time because I have learnt as I have gone along. It’s too late now to change Greychurch to Whitechapel, and Limedock to Limehouse, but it is never too late to learn from mistakes. This is why, a little way into the Clearwater series, I returned to the earlier books and struck out every use of the words okay, teenager, adolescent and others. I’d learnt by then that those words were not in use until the 20th century. They weren’t in the Victorian era zeitgeist. (Nor was homosexual, which was only used in medical terms from the 1860s, and which gets a mention in my next novel.)
Where do I get my information from? You may ask, and that was the point of this post; to share a few resources with you. I have previously mentioned particular books, but today, I wanted to highlight a few websites I regularly use. These will be useful if you’re starting out on writing a book set in the Victorian period, or you might simply find them of interest. I currently have over 150 bookmarks in my ‘research’ bookmark folder on Firefox, and within it, there are several sub-folders such as ‘travel’ and ‘maps.’
My go-to source for writings of the time is the Dictionary of Victorian London at http://www.victorianlondon.org, an excellent resource created by author Lee Jackson. I have some of his books on my shelves, but I’m talking about online resources here. If you head to this link you will find the index for the Dictionary, which is actually a list of categories, and within them, you find collected pieces from various sources written in the Victorian period. Each section has subsections, so, for example, I want to look up Prison life, and within ‘Prisons’, I find Executions and Punishments, Prisons, Rehabilitation of Offenders and Remand. I go to ‘Prisons’ and there’s another sub-list. Following one of those links, ‘Pentonville’, I find several pieces from newspapers, reports and other publications written between 1843 and 1879.
The point is, at a site like this, I have reports and information directly from the time in which I am writing. By reading them, I gain a sense of the language and how it was used, and also the zeitgeist of the time.
I also use the British Newspaper Archive, where I can search for newspapers published on specific days, and read what was happening in the world on that day in 1891 or whenever. This archive is also useful for checking what day of the week a date was, the weather, finding advertisements to mention in my books to add authentic detail, and finding interesting asides, like actual cricket scores for my character Dr Markland.
Another of my favourite sites is The National Library of Scotland. Why? If you click the link, you’ll find an incredible resource for maps. Ordnance Survey, Military, County, there’s an endless list. I have a bookmark that leads me directly to a London map of 1888. It doesn’t give me street names, but I can see where the railways ran and other details, and, by using a slider, I can reveal beneath it the modern-day map of the city to make a comparison.
Specific to my novels is the theme of homosexuality, and if you wanted to know what it was like to be gay in the Victorian Period, you only need to head to Rictor Norton’s sourcebook. His list of articles dates from 1800 to 1891, and it is from here that I find inspiration for the court cases, characters and histories of some of my stories. There is a full collection of reports about the Cleveland Street Scandal, for example. If you have read ‘Speaking in Silence’, you can find the original reports here.
I could blether on for hours and give you the full list of what’s in my research bookmarks folder, but instead, here’s a list of some others that you might find of interest.
‘Always put the weather in’ is a top tip from many authors, and I always have weather in my books. I also have accurate sunrise and sunset times, and phases of the moon too, and I get all that from Time and Date, where you can search by year and place for accuracy.
I have links to various dictionaries, such as Cockney Rhyming Slang, one for Irish phrases and slang words, and a dictionary of the Cornish dialect. I always check words were in use in my time period, and to do this, I use Google’s online dictionary because it gives a graph of printed usage of words. I have a dictionary of idioms bookmarked along with some oddments such as a list of Latin mottos, a Gothic glossary (Gothic architecture, that is), a glossary of carriages, and my favourite, The Vulgar Tongue (1785) for slang words.
The points of this post are:
Always ensure your characters are acting, talking and thinking within the zeitgeist of the time, and make sure your/their language is time-appropriate.
You can do this by reading novels written at the time, but better, newspapers and other journals, such as those you find in the online archives.
Keep every useful page you come across and bookmark it, making separate folders in your bookmarks if necessary.
You can’t beat a book on a shelf, but for speed, I use the net. What I don’t do, however, is take a search engine’s results as 100% accurate in their information and I always double-check what I read on online encyclopaedias with a website run by experts. If in doubt, do your research.
[I’ll be back on Wednesday with an update on the work in progress, ‘Starting with Secrets’.]
I have the cover and the details uploaded, and should be finalising the internal files over the weekend. This means you should be able to find ‘Speaking in Silence’ any day now. If you’re a regular reader, you’ll no doubt receive a notification from Amazon and know the book is available before I do. Meanwhile, at the bottom of this post is the cover reveal. Click the image to open the full cover.
Who is it?
The problem with discussing any new release is that I don’t want to give away any spoilers or tell you what the story is because I don’t want to ruin the journey for you. However, you will meet the character while you’re reading the book, and all I will tell you is that he is our protagonist. Everything that happens does so because of him. Things also happen because of the antagonist who is after his own reward, but he’s slimy and horrible, so I didn’t want to put him on the front cover.
Speaking in Silence is a slightly unusual story for me in that it’s not exactly a mystery. It is, but the mystery is ‘How will they do that?’ and, later, ‘How did they do that?’ It’s one of only a few novels I have written with a classic drawing room denouement, as I discussed in a post the other week.
The fun thing for me was holding back what I and the characters knew, and not giving things away to you, the reader, too soon. I could have done that, and then there would have been one tension point at a particular place in the story, but that would have been it. This time, I decided to keep you wondering until after the event—the climax—and I hope it works.
‘Starting with Secrets’
With ‘Speaking in Silence’ written, I was able to turn my mind to the next book, ‘Starting with Secrets,’ and the one after that, ‘The Larkspur Legacy.’ What I am embarking on now is a two-part mystery that leads to what could be the end of the series. Having said that, I am sure the Clearwater world will live on after the Larkspur collection. I just haven’t decided how. Yet.
From Wednesday, on my work-in-progress blog, I will set the counter back to week one, though I have been working on ‘Secrets’ for the past several days already. I have been devising clues because the next novel is all about solving obscure clues while chasing down a secret ‘treasure’ that will secure the Clearwater future. (Again, I can’t say too much.) There will be a new character or two, and many of the established Clearwater and Larkspur characters will be involved.
Here’s an opportunity that’s just occurred to me—I’ll discuss it with Jenine when I can, but I’ll drop it in here now, so I don’t forget.
I was thinking I might ask readers and followers on my Facebook page to tell me who is their favourite character from either series. I can then make sure those characters appear in the next two books. There is such a cast now, that my spreadsheet of characters is bulging, and I am running out of names. (I realised the other day that I had an Archer and an Arthur, and when they appear in the same scene, I have to call Arthur a footman or Art, so readers don’t get confused between the two.) Keep an eye on my FB page and I’ll put up a post (if I remember) asking for suggestions.
Which characters would you like to appear in the next two instalments? Who’s your favourite? Perhaps then I’ll draw a random name and send off a signed copy of ‘Starting with Secrets’ when it’s out.
Speaking in Silence Cover Reveal
But I mustn’t get ahead of myself and forget that Speaking in Silence is out next week. Tune in to Wednesday’s WIP to start the adventure of writing the next novel, and before that, look out for the ‘Silence’ release.
Now you can click the image to see the full front cover open in a new window.
Today I wanted to talk about maps and mapping your novel, and how I use maps while mapping my novels. There are two parts to this.
1) The way I structure the paths through the story
2) How I use maps when creating a novel
Mapping Your Way Through Your Story
When previously talking about structure, I have recommended a couple of screenwriting books to read which were written by experts about story structure. ‘Story’ by Robert McKee, and ‘The 21st Century Screenplay’, by Linda Aronson. I can also add to that ‘Into the Woods’ by John Yorke. (I also recommend the Sondheim/Lapine musical with the same title as an excellent example of how to interweave stories together.) Read those books and you’ll know just about all there is to know about how to structure a story. Add in ‘The Writer’s Journey’ by Vogler, and you’ll know all there is to know about character arcs and development, archetypal characters and plot structure.
There are various ways to structure a story, but let’s think simple for now. By the time your story ends, something should have changed, a character should have learnt something or altered his/her state, and you should leave the reader with a sense of things to come thanks to that change, either good or bad. In other words, the end state is far away from the beginning state.
You can start your tale partway through the overall story as I did with ‘Artful Deception.’ There, chapter one starts a few days into the story, leaving us wondering what was happening and how and why the characters were in that situation. Then, in chapter two, we start at the real beginning with the inciting incident that leads to the scene we read in chapter one, and then we carry on from there. That’s a way of drawing the reader in and is very common in films. The point is, the story still starts somewhere and ends somewhere else, and I don’t just mean physically.
To get your action from A to D, you need to go via the B and C, and that’s where you need to map things out. I make a list of ‘hit points’ or ‘plot points’ or twists if you like…
A, everything’s fine and dandy when something happens.
That leads to B, trying to work out what has happened and what we can do about it, which then leads to a twist or change of direction at halfway, and we’re off into…
… C, how do we deal with what’s happened? Working through that, through difficulties and challenges, emotional turmoil and whatever, leads us to the crisis. Just when you think things couldn’t get worse or the hero is doomed, he overcomes his fatal flaw, takes a leap of faith, and pulls up his socks.
That done, we then get on the with D of the story, the climax, and, after that, we’re in a different story state. It’s done, and the reader can relax or sigh with relief. We have gone from the A state of normality, travelled with our characters through the B and C (the slings and arrows of outrageous misfortune) to the final battle and the D, the resolve.
Don’t take my words literally. You don’t have to have a physical final battle, it can be an emotional one, but it usually involves a leap of faith or a difficult decision. That’s because the emotional plot (character arcs, development, overcoming fatal flaws etc.) runs parallel to the action, and also needs mapping.
There are loads of online resources to use to understand this better, and while searching for a simple illustration of the above, I found the graphic below. This shows you the points of the story I mentioned (inciting incident to climax, etc.) with a typical character arc set against it in a graph.
How I use maps when creating a novel
If you have read ‘The Clearwater Inheritance’ you will have seen a map of the route of the Orient Express circa 1890 to 1914. I had that map drawn because I wanted to include it at the start of the book, and because I love looking at maps. I can sit at my desk for ages reading a map, imagining the locations, revelling in the romantic place names, the terrain, contours and symbols, and I often have a map open when taking my characters on a journey. I have a map of the Great Western Railway routes, again from the late 19th to early 20th century, and I referred to it while writing my recent Work In Progress blog about ‘Speaking in Silence.’
I have a fantastic book about the history of maps and cartography, ‘The Cartographia’ by Vincent Virga, which sits in pride of place on my desk. Vincent also wrote ‘Gaywyck’, the first gay gothic romance novel. Along with the Cartographia, I have a Reader’s Digest Atlas of the World, a large book that talks about topography, geology, and geography, and comes with detailed maps of every part of the planet. I use this to find remote locations, such as the castle in ‘Negative Exposure’, so I can see where my characters are at any one time when on a countrywide chase.
Then, I have the more detailed Ordnance Survey maps, such as the one of Bodmin Moor where the imaginary Larkspur Hall is found. I have drawn on my copy, filling in a rough estate boundary for Larkspur and marking the location of the ring of standing stones Joe discovers in ‘Keepers of the Past.’ The OS Explorer maps are great for detail, but if you’re not a map reader and want to see what a location looks like, then Google Maps is where you need to go.
I use the Google map service a great deal. I find a place on the map, then switch to the image results to get an overview, and then switch to the Maps option and use the satellite view. With that, you can zoom in, and even place yourself on a street or in the countryside and really get into detail. I used this in ‘Speaking in Silence’ as you will read in the author’s notes at the end. That story is based on a real event, and the newspaper reports I found gave the address of one of the characters in 1891. I went to the satellite service and dropped myself onto the same road, found the actual house and had a look at it, as it is still standing.
Ah yes, you say, but that’s a good point. What we see now on these maps may not be what was there in 1891 when my current novels are set. You are right, I reply, and that’s why I often go to the National Library of Scotland. They have a brilliant online resource for old maps. If, for example, you head to this link: London map 1888 to 1913 you should see a black and white map of London that you can zoom into. In the bottom left corner of the screen is a ‘transparency of overlay’ feature, a slider that, when slid, reveals today’s Google map of the area, so you can compare then and now. The site has hundreds of maps of different scales and from different times and is a great online resource. Here is a link to their list of online digital resources. https://www.nls.uk/digital-resources/
Why am I Even Talking About Maps?
You might wonder why I am talking about maps at all. The reason is that the next novel in the Larkspur series involves journeys, as will the one after it. I am about to release ‘Speaking in Silence’, and have started working on the sixth book in the series, ‘Staring at Secrets.’ After that, we will have ‘The Larkspur Legacy’ and both books will involve characters from Larkspur and Clearwater heading off to various places, trying to put together a massive puzzle and find a ‘secret treasure’, as I’m calling it for now. Because I like to be as accurate as possible, I’m using maps of the time and other resources to work out distances, the time it would have taken to travel, and the means the characters would have had at their disposal. That’s why I also have a copy of Baedeker’s Egypt from 1892, and Cook’s Tourist Handbook for Egypt, the Nile and the Desert, 1897.
While the fun part is happening—the plotting, mapping and planning—I am also mapping the character’s arcs and developments, working out who will be the main character(s), what the emotional and love story will be, and those throughlines will be mapped against the physical action storyline. If you look at the photo of my larger notebook, you’ll see the beginnings of a rough chart that spans both books, as ‘Staring at Secrets’ is part one of the story. That’s good fun to do, but it’s also vital if you are to produce a well-structured action and emotional story through which your characters grow, and through which you take your reader from the ordinary world of A to the new world of D via the B and C of it all.
We’re into week ten of the writing of this new Larkspur Mystery and I am pleased to tell you, I have only eight chapters left to edit before I can say I have a draft for my beta readers, Neil and Jenine. The MS is booked in for proofreading on the 20th of July, and I am still aiming for the end of July/start of August to have the finished novel ready for you.
My to-do list now looks like this:
Finish the fine editing
Reread for a final check
Create the blurb
Find images suitable to make a cover and open negotiations with Andjela
Check everything and reread
Upload to Amazon
Hope for the best
While all that is going on, you won’t be surprised to learn that I have started thinking about the next book. The next two books, actually, because I am planning a two-book finale to this series along the lines of ‘The Clearwater Inheritance.’ I am teeming with ideas, and have already outlined various scenes in my head, but I must find a way to connect them. All I can tell you right now is that I am planning to incorporate many of the characters from both Clearwater and Larkspur, have three or four storylines running at once all leading to the same end, so all will be connected, take my characters to some wild and exciting places, and tie up many threads. Some of these threads were started in Deviant Desire, and before that, Banyak & Fecks, so I have lots of rereading and remembering to do (thankfully, I keep my ‘bible’ and notebooks). There is also a special ending to consider, and all being well, you’ll be able to read the second book of the two at or by Christmas.
It’s done! The first draft, that is, and we have arrived at Bodmin station at 95,000 words. Now, after a brief stop, we must make the return journey to London as we embark on the rewrites and editing.
This novel turned out to be slightly different to the others, and that made the journey an interesting one. Speaking in Silence is a mystery. It takes place in Cornwall and London, it brings in two characters who have, until now, been in the background, and it is based on a newspaper report from 1891. There, the similarities with the other Larkspur Mysteries end. Don’t worry, it still contains your favourite elements, but in a different way.
The content is darker than I’ve previously dabbled with because the protagonist is a victim. He’s also the one who hardly speaks, which presented another challenge when writing. Also, the mystery isn’t written as: This is strange, how are we going to solve this? It is written so the reader asks, ‘What are they doing?’ We know ‘they’ are up to something, and we know what they want to achieve, but, hopefully, you won’t work out what it is they are doing and how they achieve it until the end. Then, in the denouement, you’re told exactly how it happened.
I expect that makes little sense, but it will all become clear in the end, and the end of the journey, I hope, will be sometimes in July. Meanwhile, here’s an unedited taster from draft one.
Outside, foxes and owls scoured the grounds for their prey, while inside, a dim light burned in the drawing room until well past two in the morning. Figures paced before the window, apparently speaking in silence as no sound escaped the casements, and they disturbed nothing and no-one. At two fifteen, a light in an upstairs bedroom came on, and three silhouettes sat at a desk with paper and pen. Another discussion began, and one wrote while the others offered ideas. A little later, one sat in a chair while another busied himself around his head with scissors and a razor, until all three were satisfied with the results of their labours.
If that wasn’t strange enough, at the back of the house, another two men came from the kitchen and crossed the yard. At two twenty-five, they lit lamps in an ancient building that had once been a barn and set to work. There was no speaking, but there were sounds; the hissing and bubbling of liquids in jars, the clank of crucibles on iron stands, and the opening and closing of heavy books. All this took place beside a light which grew increasingly discoloured, once being orange, and then red, to glow purple just before the stable clock chimed half-past three.
Speaking In Silence JACKSON MARSH
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