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Historical Research And Accuracy In Historical Novels, by Tim Willocks

All that research. Years of it.

What’s the point? How much does it matter? Who cares? Who even notices?

Much more often than not, those who appear to notice or care (they looked it up on Wikipedia, but not in the Bibliotheque Nationale) are wrong.

Personally, as a reader or viewer, I really don’t mind pure fantasies of the past. If anything, the purer the better. I love The Iliad and Richard III. I was actually quite upset to discover that Blood Meridian was precisely based on real events: up until then I had I been in awe of McCarthy’s imagination. I think it’s great that Shakespeare made most of it up. The fact that in La Reine Margot both Isabelle Adjani (39) and Daniel Auteuil (44) played historical characters who were less than half their own ages did not undermine my enjoyment in the least; and since Dumas’s magnificent story is absolute tripe in terms of historical accuracy, there was no point in letting it do so.

The truth is that it is simply not possible to create an accurate portrait of the past. No one can faithfully reproduce the reality of the 1970s, let alone the 1570s. Speaking for myself, I couldn’t recreate last week. If one is rash enough convey the fact that there were no sewers in 1570s Paris, which meant that the streets were asphalted in excrement, readers and reviewers complain about the smell. Just about every great historical fiction ever created, from The Iliad to War and Peace, would fail as an essay from a History undergraduate. Charlton Heston’s Moses – or Michelangelo – is essentially just as good as anyone else’s, in historical terms. All that matters is that the fictional work in question achieve what we hope for from any good art. Since when was art in any form supposed to be ‘accurate’ in such a depressingly pedestrian sense?

So why, I ask myself, have I spent years of grinding toil on research that is, in essence, irrelevant? More to the point, as I contemplate doing it again, can I avoid it? Can I throw wide my window and scream: “I’m not going to take it anymore!”

Re-enter, once again, the truly great Charlton Heston.

Would many historical novelists of a certain age be writing historical novels if not for him? For what it’s worth, I don’t care that he waved a Kentucky rifle at NRA meetings; it’s a small price to pay for Chrysagon and Major Dundee.

I once met Gore Vidal, whose ‘Lincoln’ provoked a fantastically funny (and lengthy) exchange of letters in the NYRB, in which he blithely humiliated a squadron of bleating historians (well worth Googling). Imagine Gore’s horror when, some years after the novel was published, convincing evidence emerged to the effect that Lincoln was bisexual, and wasn’t too careful about concealing the fact. Anyway, Gore told us a story – I suspect one of his party pieces – about working on the script of Ben Hur. One day at Cinecitta he saw an art director who was dressing the set for a feasting scene by putting a bowl of tomatoes on the table. “So I asked if Mrs. Hur was planning to make Ben a bacon, lettuce and tomato sandwich.” His point being, of course, that tomatoes came from the New World and didn’t exist in Palestine in 30AD. (Apologies, but ‘CE’ holds no grandeur for me).

This story has haunted me ever since. Did they eat potatoes in Malta in 1565? It’s cutting it fine, I know, but not impossible – and would Gore Vidal review my book and humiliate me as he did the professors from Yale?

Thus at a certain moment I found myself wondering if there was a chiming clock in Paris in 1572, because it would be very useful, plot-wise, for my hero to hear it. After some hours of research I discovered that not only did the clock of the Conciergerie chime, it was in the perfect location to be heard at the moment I needed it. I wrote the scenes. The chimes worked marvellously. A month later I discovered that the chimes were not installed in said clock until 1573, under Henri III. Do I take the chimes out of the novel and re-write three chapters? Is there a single living soul among the few who will ever read the book that will know this exceedingly obscure fact? If they do, will they forgive me?

Gore’s tomato story returned to haunt me, along with the ghost of Charlton Heston and his BLT. I took the chimes out. I struggled to find a way for the hero to see the clock instead of hear it. A convenient gap – a wharf? – between the buildings crowding the right bank of the Seine? Knock the buildings down? (Who would know that they were ever there, except the odd art historian who might remember the paintings thereof?) Have him climb on the roof?

I rewrote it. But should I have? You multiply that kind of problem by at least a hundred time per novel and it becomes a recipe for insanity. Or at least for the urge to write a novel about last week.

Any advice would be welcome.

The illusion of historical ‘realism’, and the whole question of ‘history’ itself as a vast and shifting work of fiction/propaganda, are topics that will have to await future posts.

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Tim Willocks’s author website: www.timwillocks.com

Tim Willocks’s bio page

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     The Winter Palace (a Novel of the Young Catherine the Great)

Writing Historical Novels
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Tell Me A Story, by Paul Fraser Collard

It may seem odd that I should bother to take the time to write a blog piece with such a title. I am, after all, attempting to write things of interest to other creative minds that are involved in the world of writing historical novels. But it was one of the first subject titles that came to my mind when I first thought of writing this series of blogs. I shall attempt to explain why.

Historical fiction is a hard genre to get right. Not only must we create wonderful stories with characters that can grab a reader’s attention and a plot that will leave them gasping for more, but we must do this against a historical background that we know intimately enough to bring to life in a reader’s mind.

This is no easy thing. Research can be overwhelming. It can consume you. The effort we put into discovering every detail of the past taking us longer than it takes to write the actual novel we are planning. Yet it has to be done. Research is crucial and details simply have to be correct. If we want to be taken seriously then we have to convince everyone that we know what we are talking about. We need to breathe life into the dusty, dry words of history, giving it a life force so that readers can not only see the world we are describing but they can smell it, hear it, feel it and, hardest of all to achieve, understand it.

But (you must have known that this was coming) there is a central tenet that we must never forget. We are writers not historians, entertainers not teachers. We are there to tell a story.

Now for a confession; I pillage the past. There, it is out in the open and I hope you are not too shocked. I take history and thrust my fictitious character, Jack Lark, into its midst, using his eyes to see the events of the past whilst taking him on a journey through what actually happened to real people. I do not do so lightly but I am trying to do one thing, and one thing only; I am trying to tell a story.

I like to think I am honest about my dreadful act of robbery. I will always include historical notes that should explain where I have deviated from the real history or whose stories I have stolen for my Jack to enjoy. I feel bad for using the past in such a way. This is why I could never write a novel around a real character from history. That would feel too impertinent. I feel that I would be claiming that I know what a real person felt, said or thought, when I am sure they alone know exactly what that might have been. Still I take the past and adapt it for my own use, and for that I always feel the need to apologise.

It has been said that I am a writer “who wears history lightly enough for the story he’s telling to blaze across the page”. This is a wonderful line that, to my mind at least, has two meanings. A few people have read it and come up to pat me on the back to console me and to tell me to ignore the nasty man who wrote it. After all, I am a historical writer and wearing history lightly may not be a good thing at all. I take it as a great compliment (and I hope to goodness it was meant this way or I shall look a hopeless fool). I have set my stall out to write fast, pacy and punchy fiction. I want my story to blaze across the page. I long for nothing more than to set a reader alight with my passion, for my characters to be so real that they leap off the page and into their mind.

I want this because I see my job as being to tell a story. I shall try incredibly hard to get every last historical detail correct, yet I shall never be a grand historian. My stories will run fast and hit hard, and if you enjoy that, well, then I am doing my job. For I am a storyteller and I have no ambition to be anything more.

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Paul Fraser Collard’s author website: www.paulfrasercollard.com

Paul Fraser Collard’s bio page

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     Hannibal: Enemy of RomeEscape by Moonlight

Writing Historical Novels
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Researching The Trojan War For My Novels, by Glyn Iliffe

Research is all about getting a feel for the period, place and people you are writing about. Get the research right and not only will you convince your reader they’re in Byzantine Rome, Napoleonic France or the middle of the Korean War, you’ll convince yourself. As a writer, there are few feelings more uncomfortable than writing out of your depth, so having confidence in the characters and scenes you’re creating is essential.

It helps, when choosing the period you want to write about, to have a passion for it. This makes researching it a joy rather than a chore. If you love Jacobean Scotland reading about it will be easy and you’ll hoover up the facts; if you don’t, it’ll be hard work and the little details won’t stick. It’ll show in your writing. That isn’t to say you can only write about eras you’re familiar with. A basic fascination with history should be enough to drive research for a book about the past.

There’s also the old adage write what you know. If you intend to pen a novel set during a specific period in history, having a baseline to build on will serve you well. This can be a simple interest fuelled by years of reading around the subject. Such interests are often sparked in childhood, perhaps from listening to granddad’s war stories or watching films on TV. My love of the ancient world started with Jason and the Argonauts and Spartacus, and re-enacting the battles with my Airfix Romans.

The single greatest advantage I had in writing books about the Trojan War was studying Classics at university. Being steeped in a topic for three years is invaluable. You feed off the knowledge of others – from lectures, seminars, books and commentaries – and are surrounded by people who share your passion. All that exposure to a single topic gives you more than just head knowledge. It leaves you with an instinct for your subject. The same deep appreciation is gained by those in re-enacting societies or other historical focus groups.

Whether you have a deep knowledge of the period you want to write about, or just plenty of enthusiasm for a new era in history, you’ll need to establish that feel for period, place and people that I mentioned at the start. When I planned my series of books on the Trojan War, as seen through the experiences of Odysseus, I had already studied Homer and Greek mythology in detail at university. So, from the perspective of retelling the Trojan myths in a single narrative, I re-read many of the texts I was familiar with and tried to come up with ways of bringing the disparate sources together. I also looked at modern summaries of the legends – Robert Graves’s Greek Myths was particularly useful for this – to give me an overview.

This helped me to form the structure of the story and plan all six books in the series. Next came my research about the Bronze Age itself. This was not something I had studied in detail as part of my degree course, so the first thing I did was to look for books that would provide a good historical outline of the period. The best was Michael Wood’s In Search of the Trojan War: a well-written, readily digestible introduction to the available information about the era. From here I was able to follow threads into specific areas of importance for the story I wanted to tell, such as details about sailing, agriculture, religious practice etc.

One point of note here is my reliance on books, rather than the internet, for research. Personally, I think that taking the time to read a book pays dividends in increasing your understanding of a subject or period. This is because books form structured arguments that explore topics in depth, usually backing themselves up with references and evidence. Internet research, on the other hand, frequently involves a trawl of different sources, sometimes with conflicting viewpoints and often based on conjecture or personal opinion. Where the internet comes up trumps, I find, is when topping up research that has already been carried out – a quick fact here and there, useful images or just for refreshing something half-forgotten.

Another important – and enjoyable – aspect of research is to travel to the places you are writing about. This isn’t always an affordable luxury, but I think a book benefits hugely if the writer has visited the place he or she is depicting. Although I have taken a few liberties with my depictions of Ithaca, Delphi and the Peloponnese (based partly on the fact they would have looked different three thousand years ago), having been there, smelled the air, felt the warm wind on my cheek and seen the sun setting over the mountains is something that has helped me to fix those places in my imagination.

Finally, despite advocating the benefits of research, there are a few get-out clauses when writing about the Trojan War. The first is mentioned above, namely that the physical geography of places is very different now to then. Second is that historical facts about the Bronze Age are still limited, in spite of the achievements of archaeologists in recent years, so you’re not writing in a strait jacket – there’s room for a bit of imagination. Another is that what we know about the Trojan War comes from myth, which by its nature goes against the factual approaches of history and archaeology. The most celebrated source of these myths is Homer, who is known for being a mismatch of different eras. So if a Classical era temple suits your needs more than a Bronze Age cave, then you can always say you’re just being “Homeric”!

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Glyn Iliffe’s author website: www.glyniliffe.com

Glyn Iliffe’s bio page

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Writing Historical Novels
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Historical Novels You Shouldn’t Miss, by Gary Worthington

In a current literary climate that tends to emphasize the latest works, it can be easy to forget that so many good historical novels were published years ago. They may no longer be prominently displayed in your local bookstore but they’re still definitely worth seeking out and reading.

This is likely my last posting in this series, so I wish you the best of luck. I’m always on the lookout for additional unique, well done historical fiction, so I look forward to seeing your own published work!

Here are a few historical novels that have inspired me over the years. I learned something about writing from each, and I’d bet that you will too.

Balogh, Mary. Truly. 1996. An historical romance set in 1840s Wales. The hero returns after a ten year absence to claim his estate but finds that his tenants hate him because of his ruthless managers. He takes up the cause of the tenants and the poor in general by assuming the disguised role of “Rebecca,” who leads the peasantry in various acts of rebellion against the power of the gentry. The romantic details and complications are sometimes from stock romance fiction, but those flaws are more than compensated for by an exciting plot with plenty of suspense.

Barber, Noel. Sakkara. 1984. A novel of 20th Century Egypt, narrated by the son of a wealthy  British envoy growing up in Cairo and in love with an Egyptian neighbor’s daughter who is promised to his brother. Impressive for the detail and flavor of the times and Egypt’s struggle for independence.

Brooks, Geraldine. Year of Wonders. 2001. Realistic-feeling experiences of the inhabitants of an English village that quarantines itself during a period of bubonic plague in 1665. Narrated by a young widow and mother, the challenges and suffering of the residents result in compelling reading with an added dimension of religious conflict.

de Bernieres, Louis. Birds Without Wings. 2004. Outstanding depictions of villagers and their daily lives in Turkey during a challenging period of change at the beginning of the 20th Century and World War I. A remarkable cast of strong characters, all very different, with encounters between ethnic Greeks and Armenians and Muslim Turks.

Grieseman, John. Signal & Noise. 2003. Epic in scope, depicting influential engineers, inventors, and entrepreneurs during major events in the 1850-60s such as laying the first trans-Atlantic cable and solving London’s “Great Stink” with drainage and sewers. Some minor flaws in that characters’ motivations aren’t always entirely clear and shifting points of views can slow momentum. But still impressively done.

Harris, Robert. Pompeii. 2003. A young roman aqueduct engineer goes to Pompeii in AD 79 to try to restore water flow to the nearby cities, where he faces mystery and danger culminating in the massive eruption of the volcano. A romance element and the excessive power of a newly wealthy man seem somewhat improbable, but on the whole the work is suspenseful and intriguing.

Mackin, Jeane. Dreams of Empire. 1996. Mystery novel of the Napoleonic occupation of Egypt, with a French woman artist heroine and her philanderer husband accused of trying to poison Napoleon. The pursuit of a major artifact from the time of Alexander the Great adds to the adventure. Excellent for the flavor of the time and romance and intrigue.

Michener, James A. The Source. 1965. This huge tome, a bestseller in its time, firmly established the template (similar to that of Michener’s earlier Hawaii) for that author’s later historical novels and for those of James Rutherfurd. It also was the inspiration for the format of my own India Treasures and India Fortunes. A series of novellas set in various historical periods let the reader experience an overview of the historical evolution of the land that is now Israel. The stories are focused especially on the site of the ruins of a fictional ancient town, and the excavations of the various layers by an archaeological team in the 20th Century tie together the tales from the earlier eras. Not a fast read, but well worth the investment of time for an understanding of the roots of this area of the Middle East.

Rufin, Jean-Christophe. The Abyssinian. 1999. Translated from French. In 1699 the young hero is sent on a mission from Egypt to Abyssinia (now Ethiopia) to establish a French mission there despite the ruler being hostile to Westerners. The lowborn hero also hopes for success so he can win the hand of the French consul’s daughter. Though somewhat heavy on narrative, the extensive details of caravan life and of sights on the route and in the capital are impressive.

Wood, Barbara. Virgins of Paradise. 1993. Novel of women in a wealthy Egyptian family living in a huge joint family house and gardens in Cairo. Excellent for the details of life in a Muslim household from the women’s perspective, and how the changing political climate severely impacts the family over half a century.

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Gary Worthington’s author website: www.garyworthington.com

Gary Worthington’s bio page

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     The Sultan's WifeA Secret AlchemyTreason at Lisson Grove: A Charlotte and Thomas Pitt NovelBetrayal

Writing Historical Novels
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Tips For Writing Historical Novels, by Paul Dowswell

As a final entry for these 2013 blogs, here’s what I’ve learned from two decades of writing about history, taking writing classes and writing for Writing Historical Novels.

If you can, visit the places you write about

I know this is impractical for some readers of this blog, but for stirring the imagination, nothing beats the experience of walking in the footsteps of your characters. When I wrote Powder Monkey, about a boy in Nelson’s Navy, I got half a book worth of ideas from a single afternoon aboard an early 19th century frigate. (HMS Trincomalee, in Hartlepool, UK.)

Stray from the mainstream at your peril

My most successful novel (Auslander) is set in Nazi Germany. My least successful (The Cabinet of Curiosities) is set in Renaissance Prague. I loved writing them both. Trusted critics (family members who don’t just say ‘that’s nice’, my editor, my agent…) were very positive about both. The plain fact is that lots of people in the Young Adult market (where I work) enjoy reading about the Nazis. They’re history’s baddest apples after all. On the other hand, most people in this demographic don’t give a fig about the Roman Emperor c.1600 and the first stirrings of the Scientific Revolution.

Don’t be too pedantic in your regard for historical accuracy

‘Chillax, Romulus. Remus is a jerk but there’s no need to waste him.’ That’s plainly wrong (!).

Calling Stalin’s NKVD the NKVD when they were actually the NKGB for three months in the time you’re writing about (April to June 1941) is a calculated decision based on not trying the patience of your reader. It’s a novel you’re writing, not an academic text book.

Not everyone gives a hoot about historical accuracy

Personally, I dislike novels and films that are cavalier about historical accuracy. I know this is a subject many readers and writers of historical fiction care about. I think it’s essential to the credibility of your story. But vast swathes of readers/viewers don’t care. One successful seller in the field I write in has two 12 year old German refugees parachuted back into Nazi Germany ‘on a top secret mission’.

Political correctness is a minefield

We wrestle with this all the time. I’m all in favour of not offending people and I’m happy to avoid historically accurate terms that were fashionable and/or acceptable 200 years ago (or even 30 years ago), but which aren’t now. But the whole PC subject is so sensitive that even discussing it is almost impossible. So, to borrow an awful Americanism ‘Don’t even go there.’ (I like lots of Americanisms too, in case anyone thinks I’m being snooty about Americanisms.)

Publishing is a business

Writing to purge your inner demons, or air your pet interests, is fun and/or therapeutic. By all means do it if you enjoy it. But don’t expect a publisher to want to publish it. (Unless you’re an especially brilliant writer.) Publishers need to publish books they think will repay their investment in:

– your advance

–  the wages of their editors/designers/marketing/publicity/sales people who work on your book, and

– production and distribution costs.

It’s always worth remembering that publishers want a book they think will sell to a readership.

Thank you to the readers of this blog who have taken the trouble to respond to my articles and I wish you all a happy New Year and a successful 2014.

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Paul Dowswell’s author website: www.pauldowswell.co.uk

Paul Dowswel’s bio page

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AuslanderSektion 20Powder Monkey: Adventures of a Young SailorPrison Ship: Adventures of a Young Sailor     Hannibal: Enemy of RomeEscape by Moonlight

Writing Historical Novels
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How I Became A Bestselling Historical Novelist, by Ben Kane

I worked as a veterinarian for sixteen years, from 1992-2008. Like many people who dream of such a career, I started off with a childhood love of animals. Dogs, cats, rabbits, cows – as a boy, it didn’t matter to me. I loved them all. Discovering the gentle, life-affirming James Herriot books helped build up a mental image of being a ‘doctor for animals’, as did the fact that my dad was already in the profession. Alongside my love of all creatures great and small ran a deeply rooted love of history. Don’t ask me where it came from, but I devoured any book I could find about the Romans, the Vikings, the Crusades, the Napoleonic wars, World Wars One and Two – in fact any conflict at all! I still ended up putting veterinary medicine number one on my university application form though. The main reason, from what I can remember, is that although I loved history, I couldn’t see myself as a teacher. There was certainly no concept in my mind of being a writer.

As with most people starting out on a career, my job as a veterinarian took over my life. Straight out of college, I worked in ‘mixed’ practice for nearly three years, which meant dealing with cattle, sheep, horses, dogs and cats. Stints in purely ‘small animal’ and ‘exotic’ (snakes, birds, fish) practice followed in the UK, before the need to travel struck home.

In 1997, I went on a solo trip to the Middle East, following part of the ancient Silk Road. During this trip, I visited many of the ‘stans’, countries which were formerly part of the USSR. In Turkmenistan, I walked the ruins of Merv, an enormous walled city which was attacked and demolished by the Mongols in the 13th Century. As I wandered through the vast site, nearly a mile square, in temperatures of more than 110F, what became evident was that the city’s history was far more ancient. Merv had originally been founded as Antiochia – by Alexander the Great – in the 4th Century BC. Furthermore, Roman prisoners of the battle of Carrhae had been taken there by their captors, the Parthians. Fascinated by this, I did some research upon my return. This confirmed what I had read in Merv, and the seeds of The Forgotten Legion were sown in my mind, and I had my first thoughts of writing a military fiction novel.

After a prolonged (nearly three years) trip around the world, including a period working in Sydney, I returned to the UK in early 2001. The devastating outbreak of Foot & Mouth Disease had just started, and believing it was my duty to help, I volunteered soon afterwards. The job took me to Northumberland, where much of Hadrian’s Wall is situated. During the terrible months of slaughtering animals that followed, I was able to visit many amazing Roman sites on the wall. The stunning locations and little museums fired up my imagination as never before, and I decided to write a novel about the Romans at last.

Over the next six years, I went back into normal veterinary practice, bought a house and settled down somewhat. Crucially though, I also started writing, a process which I quickly grew to love. Despite the long hours – 60+ per week – and ‘on-call’ nights and weekends of my veterinary job, it became an obsession. I wasn’t happy unless I could write every day. During my lunch break, I’d use my laptop in the staff room, my car or a cafe. Several days a week, I’d get up at 5am to do a couple of hours before going to work. For years, most weekends were non-existent except for 12 hours a day of writing.

In early 2006, I was fortunate enough to get signed by my literary agent, whose input and help with my writing skills was enormous. Discarding what I had written up till then – until another day – The Forgotten Legion emerged into the light. In Summer 2007, I signed a 3 book deal with Random House in the UK. By the time of the book’s release in May 2008, I had gone part-time as a veterinarian. By the beginning of 2009, I had given it up altogether. The pressures of family life, writing and a high-octane job were too much to continue forever without the risk of burnout. Now, I find myself ever busier, but as my own boss, doing a job that I utterly love, it’s a much easier thing to manage.

***Write with Ben Kane near Hobart, Australia with Novel Writing Retreats Australia in February 2014

Ben Kane’s author website: www.benkane.net

Ben Kane’s bio page

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The Forgotten Legion (Forgotten Legion Chronicles)Hannibal: Enemy of RomeSpartacus: The Gladiator     Fortress of Spears (Empire)Auslander

Writing Historical Novels
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Writing My Historical Novel ‘The Kirilov Star’, by Mary Nichols

They say you should write about what you know, especially when you are feeling your way as a writer, but that can be dreadfully restricting and, if you did that, you would never write books with historical backgrounds. Think what opportunities you would be missing!  The story is the thing. As long as your research is thorough, there’s no reason why you can’t attempt something a little more adventurous.

I’ve been fascinated by Russian history ever since I read Tolstoy’s War and Peace and Anna Karenina, and Dostoevsky’s The Brothers Karamazov and Crime and Punishment as a schoolgirl – in English, I hasten to add. Then later when Dr Zhivago was made into a film it renewed my interest, especially in the Revolution and the terrible fate of the Tsar and his family, and the rumours that the Grand Duchess Anastasia had survived. A film was made about it and for a long time it was believed, but this has since been disproved with DNA tests. It was a time of such upheaval that people simply disappeared. The idea for a book simmered in my mind for a long time and, though I planned it out, I hesitated to begin writing for fear of biting off more than I could chew.

When I told my family about it, I began receiving books about Russia for birthday and Christmas presents. That set me collecting books to help with my research, until I had dozens of them. The more I read, the more I became immersed in the history and eventually I couldn’t put it off any longer and The Kirilov Star was born

My aristocratic family, distant relatives of the Tsar, are separated when trying to leave Russia during the civil war in 1920. The only survivor is four-year-old Lydia Kirillova, too young and too traumatised to tell anyone what happened and where she comes from.  She knows her name but the only other clue to her identity is a fabulous jewel sewn into her petticoat. She is taken to a British diplomat who has been instructed to oversee the evacuation of the refugees and then leave himself. He is left wondering what to do with her.

He could send her to a Russian orphanage, but they were notoriously dreadful places and for someone who appears to be of aristocratic stock, it would be worse. He and his wife are childless, something they both regret, could Lydia fill that gap? He could give her a good life, but would his wife accept her? Would Lydia later blame him for taking her from her homeland?

He decides to risk it and Lydia grows up in the privileged background of a stately home and seems content. But Kolya, another Russian émigré, sows the seeds of her discontent and persuades her to marry him and go back to Russia with him to look for her real parents. It is the biggest mistake of her life. Russia under Stalin is a dangerous place for an ex-aristocrat to be. Her husband leaves her for another woman, taking their son, Yuri, with him and she is trying to track him down when the second world war breaks out and her situation becomes desperate. She has left a good home and loving family to chase a dream which turns into a nightmare. She is forced to abandon her search and return to England and only much later when Stalin is dead and it becomes easier to travel is she able to resume her search for her son, helped by the man who has always been in the background of her life and has loved her for years. But when Yuri is finally found, the years apart and the different cultures are not so easy to bridge.

Having written it, I wanted someone who was familiar with the country and the times to look at it before I submitted it to my publisher. I was lucky. Two of the books I had used for my research were Moscow 1941 and Across the Moscow River, both by Sir Rodric Braithwaite who was British Ambassador to Moscow from 1988 to 1992 and I wrote to him asking if he would take a look at the manuscript. It was a long shot but to my delight he agreed to do so and, besides making some very pertinent comments for which I was very grateful, told me my research had been very thorough and he had no quarrel with it. It just goes to show you should never be afraid to be adventurous. Most people I have approached with queries have been happy to oblige. Taking a chance paid off.

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Mary Nichols’s author website: www.marynichols.co.uk

Mary Nichols’s bio page

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United States (and beyond)

    

United Kingdom (and beyond)

    

Australia (and beyond)

The Girl on the BeachEscape by MoonlightThe Summer HouseThe Kirilov Star     The Winter Palace (a Novel of the Young Catherine the Great)

Writing Historical Novels
www.writinghistoricalnovels.com

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