Book Two in my Civil War naval saga, Southern Sons-Dixie Daughters, is scheduled for release in paperback on June 29.
A sweeping saga of the Civil War’s western naval campaigns, Book 1 in the Southern Sons-Dixie Daughters series follows four Southern families living on the Gulf Coast—the Westcotts, the Jessups, the Soileaus, the indomitable and devout slave Danny who escapes bondage and finds service aboard a Union warship and his wife Nancy, cruelly whisked out of his life decades before the war.
While the Confederacy struggles to build a navy to defeat the Yankee fleet threatening New Orleans these families suffer their own personal conflicts: secret courtships, emotional turmoil, and banishment. For those in naval service–-Danny and Confederate Lieutenant Benjamin Westcott, whose family owns Nancy–-vengeance and betrayal approaches as the battle of New Orleans draws near. If the Westcott’s butler Titus succeeds in his plan, and Ben’s mortal enemy Master Xavier Locke of the USS Madison gains the upper hand, both Danny and Ben will suffer heartache and loss in vastly different ways. Unlike most Civil War novels which focus on armies and land campaigns, this two part series is set against the backdrop of New Orleans, Mobile, and David Glasgow Farragut’s naval exploits.
As I approach retirement from what I often call my “tentmaking job,” because my real work is actually writing, some folks have asked me what I intend to do. Will I be playing golf every day? Will I go fishing? What about sitting in front of my television set watching old Westerns all day? Nope. None of these. Why? Because I’m going back into writing full-time, something I did for ten years when I was younger. And writing, my friends, though it is my passion…it’s also extremely hard work.
Particularly my genre, historical fiction. It’s easy to slip up on historical details. To my chagrin, I’ve done it. Even the best historical fiction authors have. We must consider so many minute details while weaving our tales! I cannot stress hard enough how important it is for our stories to be accurate.
In the interest of accuracy, I like doing on-site research whenever I can. This means such things as visiting old homes, museums, and other historical spots. One of the first things I plan to do upon my retirement is visit the setting of one of my current Works-in-Progress (WIPs). Sure, I can find photographs of it online, but there’s nothing like onsite research to get a real feel for my story’s setting.
So if your story’s setting is a real place, if possible, make time to visit it Not only will it help make your descriptions more accurate and believable, it’ll also help you write more confidently, knowing that your setting is accurate.
Till next week, friends. Keep on writing.
I am currently working on a new fiction project centered around horse racing in the Antebellum South. Author, editor, and horse expert Tisha Martin offers excellent advice on portraying horses in fiction. With her permission, this post is shared from her website. For more advice on this and other literary subjects, visit it at http://www.tishamartin.com .
How to Write about Horses in Historical Fiction
by Tisha Martin
Horses have long since been an icon in American history, a loyal friend to the cowboy in the movies or in a novel. Often, too many historical writers don’t capitalize on the benefit of including the intelligence of the horses in their stories, and therefore, miss opportunities to add depth and personality to their stories and to shape the character arc. Horses are smart, despite what people may say. (And mules are even smarter! I’m thinking of Clarice from The Apple Dumpling Gang.)
Here are four ways authors can capitalize on the personality of the horse in their historical novels.
1. Use horses as secondary characters.
Perhaps that the idea of humanizing the horses in a story seems strange, but consider Little Brother, the mustang in Hidalgo, the western movie starring Viggo Mortensen. Little Brother acted as a secondary character in advancing the plot. When Frank T. Hopkins (Mortensen) went into the village to rescue Jazira, the horse worked with his human to make the rescue a success.
Including these types of minor details in a story adds depth to the plot and captures the essence of the character’s and horse’s relationship, further endearing both characters to the readers. That’s a pretty neat win-win, if you ask me.
2. Let horses help the human characters.
If you’re writing a western, consider this: horses will not run away from their owners. Many authors may think that horses are sneaky and always want to run off. In reality, horses are extremely loyal. I like to think they’re big dogs. For instance, if you leave a horse five miles down the trail so your main character has an easy getaway after the ambush, the horse will find its way back home without assistance. That’s called loyalty—and instinct.
3. Give horses an emotional personality.
Horses do show emotion if they are mistreated. If you have a nasty character in your story who mistreats the horse, you can show the horse’s emotional personality by describing the horse’s fear as it bucks, bites, or kicks. This adds suspense and propels the plot. Showing emotion in these scenes will deepen the care factor and enrich the story world.
But what if you want your character to have a positive relationship with the horse? Perhaps the character nurses the horse back to health, like Joe did in Black Beauty. You can use the horse’s gentle personality mixed with those moments of fear and mistrust (if the horse is coming from an abused situation or is now in a new environment) to liven up your scene. A horse that is treated with kindness and respect will respect its owner.
4. Consult the horse experts.
Nothing is more annoying to a horse lover than to read of inaccurate details in a story about horses. Some common inaccuracies include proper terms for horse tack, basic horse behavior, and horse anatomy. Often, these are misused because the writer googled what they did not know, found what appeared to be helpful information, and stuck it in their story.
Authors can avoid these glaring mistakes by bypassing the great internet and seeking out their local horse expert or local library for horse-related information. You can call a horse stable and ask questions, email the horse breed association, ask a friend who owns horses, or visit your local library and pull out a good horse resource book.
Remember, an animal is usually a reflection of its owner, especially if the animal has been loved for a long time. Now, a horse may not bring its owner the newspaper every morning (although stranger things have happened!), but the relationship between your character and their horse can be used to add a deeper layer to the story that feels and reads like a loyal friend.
Happy writing on the trail!
“The first law for the historian is that he shall never dare utter an untruth. The second is that he shall suppress nothing that is true. Moreover, there shall be no suspicion of partiality in his writing, or of malice.” Marcus Tullius Cicero (106-43 B.C.)
As a historian and historical fiction writer, I’ve always loved this great Roman statesman’s quote. If we aren’t objective in our study of history, if we twist the facts or rewrite history to suit our own opinions about the past, we not only cheat ourselves–we also fail to learn our ancestors’ past lessons that we can apply to today’s events.
We historical fiction writers should strive for objectivity, which also means accuracy. While weaving our fictional characters’ stories into historical events, we should accurately depict these events and the historical figures involved in them.
Is it ever acceptable to engage in a bit of artistic license? Maybe twist a small fact? I believe it’s acceptable, but shouldn’t be done often. Bernard Cornwell shows us how to do this in his novel, Redcoat, set during the American Revolution. In a historical note at the end of the book, he tells readers that he took “some liberties with the Revolution’s chronology,” and then he explains what these liberties were. So if we do engage in a bit of license, follow Cornwell’s example and let your readers know.
Cicero’s advice is sound, though. We historians and historical fiction writers do well to heed it.
“Historical novels are, without question, the best way of teaching history, for they offer the human stories behind the events and leave the reader with a desire to know more.”
Louis L’Amour (2008). “Education of a Wandering Man”, p.15, Bantam
Mister L’Amour’s words have proven true in my life. My three favorite genres have always been history, historical fiction and biographies, even as a child.
The historical fiction books I read during my growing-up years, such as The Horse Soldiers (Harold Sinclair), The Black Arrow (Robert Louis Stevenson), and The Count of Monte Cristo (Alexandre Dumas) spurred my youthful hunger for more knowledge about these books’ eras. Getting lost in the past was, for me, sheer joy.
Sadly, many people today have little knowledge of the past. They learn their history from “historical” movies, most of which aren’t entirely accurate. It’s become easier to watch a film than it is to read.
So, we historical fiction writers have a challenge. Our writing must be at the “top of our game.” Not only must we write well, we must also keep our facts accurate. Our books may not win a Pulitzer Prize write like Michael Shaara’s The Killer Angels, about the Battle of Gettysburg, but if our historical novels get more folks interested in learning about the past, our time and labor is worth it.
Research, write, and read! Till next time, friends. Have a great week.