Showing posts with label historic fiction. Show all posts
Showing posts with label historic fiction. Show all posts

Just Write. It Will Come: An Interview with Novelist Harmony Verna

Wednesday, April 06, 2016
Daughter of Australia (Kensington Books, 2016) by Harmony Verna is a historical novel touching on three continents and spanning 20 years. It tells a deeply personal story of Leonora’s struggle to find a life for herself amid war, abuse and secrecy. I contacted Harmony Verna and asked her to discuss her writing process.

WOW: First, what inspired this story?

Harmony: For as long as I can remember, I've had an obsession with Australia...the people, the landscape, the history. As a child, I had a huge map of Australia hanging over my bed and would stare at the continent, the names of rivers and towns, with such longing.

I remember being so drawn to a tiny spot on that map named Leonora. I even put a thumb tack through the word. I believe that was really where the first inspiration for Daughter of Australia came about. The wild part is that I was only about eight-years-old at the time.

The start of the novel came through channeling a reverence for this land. I knew the main characters would be James and Leonora but I wasn't quite sure how they would take shape. I began writing about the scenery, pulling myself so deeply into the land that the characters began to form around the landscape like trees sprouting from the earth. After that, the first scene came very quickly and the story evolved around that first traumatic event of a child being abandoned in the harsh Australian outback.

WOW: With the plot, subplots and numerous characters, how did you keep track of the details?

Harmony: This was extremely challenging. I had several notebooks stuffed with information, research and facts. I wanted to use it all! But, I had to be very discerning in what to include, otherwise the story would have been overshadowed with historical data.

Weaving all the characters into a historical timeline, especially ones on opposite sides of the globe, took a great deal of organization. For instance, Australia entered WWI in 1914 while America entered in 1917. On top of that, Australia's seasons are reversed so I had to take into account weather differences as well.

There were many days that I sat amidst piles of crumbled balls of paper with my head buried in my hands. I laugh about it now, but at the time, it was very difficult. As I went through the story, I just continued to outline, outline, outline until all the scenes fell into place, not unlike a puzzle.

WOW: How did you create realistic dialogue for characters from various continents and economic levels?

Harmony: What helped me the most was reading poetry. I would read works by Australian poets such as Henry Lawson and replay the sentences in my mind over and over again. Pretty soon my characters took on the cadence, and the dialogue really began to flow. Anytime I had to convey an accent, be it Irish, Australian or American, I went to poetry for assistance.

WOW: How much did your novel change from the initial idea to the finished product?

Harmony: Originally, I thought the entire novel would center on Leonora. I began writing the story from her first person perspective, but then as the other characters came to life, I wanted their insights and perceptions to share the stage.

The biggest plot change had to do with Ghan, who, by the way, is my very favorite character in the novel. I had always envisioned Ghan, this hard and burly miner, finding Leonora and then disappearing from the novel...his purpose done. But I could not get this character out of my mind. He was the perfect blend of hard and soft and I became deeply attached to his story. Whenever I was at a loss in the novel as to where to go next (which happened a lot!), I brought Ghan in and he guided me home.

WOW: What words of inspiration do you have for our readers who may be trying to complete their first novel manuscript?

Harmony: First of all, you have my undying love and support! Writing is difficult. Sometimes it flows and everything comes out roses and butterflies; but then you have those days where you feel like you are trudging through manure.

But don't give up. Never, ever give up. If you have a story in your soul, let it fly.

I found that the hardest part of writing a novel was quieting that little voice in the head that was telling me all the reasons why I wasn't going to become a writer. Luckily, I had another voice inside my gut and my soul that told me, I COULD do this. In fact, the words were, "Just write. It will come."

So, I will share those words with you, dear writer..."Just write. It will come." You can do this. You wouldn't be reading these words if you weren't drawn to creating your own story. Trust yourself. Trust your worth. Trust your talent. Don't worry about writing something great, just write. And as you do, the great will emerge.

SueBE here:  A special thank you to Harmony for sharing her book, her talents and her insights with The Muffin’s readers! For more about Harmony and Daughter of Australia, be sure to check out the bio page and book page on her web site. A hint – take the time to look around and you will discover samples of her writing.

--SueBE
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Nonfiction or Fiction: The Choice to fictionalize real events

Sunday, November 16, 2014
Because I write for children, I read a lot of children’s books.  My recent reading has been limited almost exclusively to picture books and I’ve discovered a wealth of nonfiction gems including Mr. Ferries and His Wheel by Kathryn Gibbs Davis, illustrated by Gilbert Ford (Houghton Mifflin) and The Kite that Bridged Two Nations by Alexis O’Neill, illustrated by Terry Widener (Calkins Creek). 

Or at least I assumed they were both nonfiction until I looked more closely and made a surprising discovery.  The Kite that Bridged Two Nations is a fiction book based on a real event. 

In the back matter of the book, author Alexis O’Neill explains that her decision to write about the event as fiction was based on what is essential for a gripping story. 

Conflict.  A good story has to have conflict.  Homan, the main character, couldn’t simply make a kite, fly it and win the context.  For this story to be picture book worthy, there had to be conflict big enough to bring Homan to a halt before he could even build his kite.  O’Neill introduced needed conflict by creating a disagreement with Homan’s father, who strongly disapproves of his son’s frivolous kite flying.  Do you see what O’Neill has done with this conflict?  Homan not only win’s the contest, his father comes around to see the value of what his son does.  This subplot creates not only needed tension but a warm, satisfying conclusion to the story.

The Catalyst.  All good stories require something to get the main character moving.  O’Neill knew that the drive to win the contest was what brought Homan to achieve the impossible.  But how on earth did he find out about it?  O’Neill created a handbill, typical for the time but not part of the historic record, to bring the contest to Homan’s attention and get the story underway.

Acceptable Risk.  Homan wasn’t an adult but a journey to the Canadian side of the falls stranded the real Homan for 8 days in Canada.  A picture book character separated from parents and family for eight days. Can you say banning and censorship?  Of course you can, if the book would even be published.  To make this Canadian stay more acceptable, O’Neill invented a kind Canadian family who takes him in. 

When you find a true story that just won’t work “as is,” consider writing it as fiction.  A story that works as fiction will soar into the hands of your readers.  A story that doesn’t work as nonfiction, simply won’t fly even if it’s about a kite.


--SueBE

Sue Bradford Edwards teaches our course, Writing Nonfiction for Children and Young Adults.  The next section starts on January 5th.  
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Historic Fiction: The Caged Graves Does It Right

Saturday, August 17, 2013
Recently, I’ve been reading about mentor texts, books writers can study to learn about some aspect of writing.  If you are writing historic fiction make The Caged Graves by Dianne K. Salerni your mentor text. 
It is the story of 17-year-old Verity Boone.  After moving away when she was a toddler, Verity returns to Catawissa, PA. in 1867. She has been corresponding with a young farmer and they plan to get married. In Catawissa, she discovers two caged graves located outside the church cemetery.  Since one of the graves is her mother’s, Verity is determined to find out what happened 15 years earlier and why no one will speak about it.
It’s clear from the start that Salerni has done her research.  She knows what you would eat at an ordinary meal vs. a celebration.  She knows what dry goods Verity could buy in Catawissa and what she would order as well as what plants women used to doctor what ailments.  She even knows what magazine a woman would show her future daughter-in-law when picking out things for a wedding.  Salerni gently worked in these details throughout the story.
Historic fiction gone wrong often substitutes research for story.  Salerni, on the other hand, gives the reader a layered plot, sure to satisfy. First comes the mystery plotline. What happened 15 years ago and why will no one speak about it? Then she layers in the romance, complete with one love triangle and hints of other possibilities.  Will Verity marry the man she planned to marry or will a new suitor win her heart? And what if another girl, someone he’s known since childhood manages to turn her beau’s head?  Salerni also pulls in a treasure hunt and possible paranormal activity.  The resulting plot is marvelously complicated and rich and could take place in no other setting.
And that’s the last thing that Salerni pulls off.  She has woven the setting so deeply into this story that it could take place no-where and no-when else and she does it in a way that it completely unique.  Given this particular setting, that’s saying something.
The story takes place post-Civil War so I went into it with certain expectations.  I expected something to do with conflict between northern and southern sympathizers or slavery.  Neither is even mentioned.  Instead, Salerni focuses on another reality of the Civil War, men who had the means to pay a poor man to fight in their place and other men who might have escaped the conflict if their family hadn’t needed the money. This is vital to the plot, because the war has created a shortage of uninjured men. Time and place feed directly into Salerni’s story.
Salerni shows what can be done when an author combines detailed research with a winning story set in the one and only place and time it could happen.  Read and learn, ladies.  Read and learn.

--SueBE
Sue will be teaching one of our courses, Writing Nonfiction for Children and Young Adults, starting October 7, 2013.  
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