Nineteenth-century street scenes on film

Emma Jane Holloway
June 7, 2019  •  No Comments

Here are some truly fascinating clips of real nineteenth-century street life.

This is Manchester in 1901. It looks like rush hour to me.

 

This is a trip through Paris in the late 1890s. Partway through is a horse-drawn fire truck and a moving pedway!


Researching Worlds That Don’t Exist


June 6, 2019  •  No Comments

 

So far, at least, there is no online reservation system for me to book a B&B in my story world. This makes literal boots-on-the-ground research impossible. So—now what? For anyone writing outside their own experience, this is a genuine problem. How do you get real intel on places you can’t go or don’t even exist?

Advice on world-building abounds. Maps, naming conventions, operating codes, and heraldry are all legitimate reference points. My only quibble is that, while they provide valuable detail, they don’t necessarily grab a reader’s heart and soul. Despite the excruciating care writers take with constructing the subjunctive in their new Elvish dialect, most readers skate by that stuff until they reach Rabid Fan territory. What they do remember is the character’s joys and sorrows, because that’s something they can participate in right away. When a character is tossed in a dungeon, their despair, their horror of rats, and the dank stink are more memorable than the name of the prison and where it is located, although that info has its role, too. In other words, worry more about creating an emotional and sensory response and sprinkle in fine detail once you’ve nailed the drama.

This approach makes research somewhat easier because equivalent experience might be available. Got a desert planet? Go find a desert. Need alternate Victorian England? Well, there are bits of the original left, if you squint past the traffic. Castles? Yup, and a person can even sleep in one. Travel is best. Museums can help. Anything that duplicates aspects of your story location will do. The object of the game is to find your imaginary world in the one already around you and to answer the question, “What would my character actually experience if…”

While you’re making the rounds, keep a journal and pay attention to everything. High mountain air feels different than sea level. Dirt isn’t all black. Water tastes different from one city to the next. The sound in an ancient stone building carries differently than in a modern house. Observe and select the most telling details about a place, and this will create an experience that is concrete to your reader. That’s when they say, “I feel like I’ve been there.” Best of all, that’s when they wish to go back.

The same goes for the character’s emotional response to the world around them. Once upon a time, I took a gondola up to a mountain top and discovered to my horror that it was a literal mountaintop with no handrails, no fences, nothing. As I’m terrified of heights, my emotional response was—um—acute, especially when another tourist missed his footing and suddenly slid down the mountainside (he was okay). But the mountain scene I wrote afterward was razor sharp because my emotions were so strong at that moment. How does a character feel about their surroundings? Chances are, those same emotions are somewhere inside the writer. Take the narrative out of the head and put it in the gut.

Once a story world is full of vivid detail, other things to consider include demographics, the economy, transportation, and sanitation. There are too many books where no one seems to have a job, and yet they all have money and nice houses (where do I sign up)? It’s as if the story action occurs on a floating platform very separate from the everyday. Any location seems far more real if there is industry, immigrants and visitors from other lands, and the usual mix of old, young, rich, poor, and in-between. The research lab for the way a city works (or occasionally fails to do so) is all around us. Most historically-based industries and transportation systems have museums, books, and documentaries. Futuristic infrastructure might be based on similar principles. Throughout history, nations rise and fall because of trade profits and how they can take them away from someone else.

How does any of this impact day-to-day living for your characters? It’s the world they move through. It might be their means of survival. It might be motivation. Everyone has an opinion about their Internet provider, the bus/underground system, the price of electricity, rents, the price of groceries, and so on—not to mention industrial pollution and the environment. Providing an awareness of the everyday that is appropriate to your character makes it seem as if the world extends beyond what we see on the page. That makes readers curious, and they come back for more. In addition, because some problems are universal (the price of groceries), that makes characters relatable.

That’s not to say a fairy-tale fantasy filled with prom dresses and glass slippers isn’t okay. Gritty, bloody, darkness isn’t for everyone and despite what nitpickers say, no author’s world is wrong because it’s theirs to make and love. Medieval castles might be damp and uncomfortable in our history, but they can be sparkling and filled with unicorns someplace else—as long as I can hear the unicorns clip-clopping across the marble floors. At the same time, an understanding of the castle’s workings gives it depth. A bit of “how did they live” research will point out obvious factual pitfalls. If the medieval princess puts on her lace gown and looks in the perfectly clear looking-glass before attending a ball with a violin orchestra, I’ll buy that if I am told why and how that world has industries out of step with our own historical timelines. Do what you like but make it so real to the reader that it doesn’t pull them out of the story. Fill their senses and stir their emotions until their brains stop caring about the improbability of it all.

As a reader, we all want to believe. As an author, it’s our job to make it easy. Put down good roots as you let your imagination explore the stars.

 


How the Media Invented Jack the Ripper

Emma Jane Holloway
June 5, 2019  •  No Comments

Jack the Ripper is a favorite subject for fiction writers for many reasons and the notion that the sinister drama is true ranks high among them. However, we don’t know the killer’s name or occupation, if there were one or several killers, and even the exact number of victims. The number of suspects is staggering. Despite the amount of ink spilled on the subject, the undisputed facts of the crime fill only a slim volume. So why, in a time and place where murders were common, did the Ripper case garner so much public attention?

One might say the media co-created the crime, both intentionally and by reflecting the Zeitgeist of the era. While the residents of Whitechapel were justifiably terrified by the murders, the wider public was served up the villain their imaginations demanded.

The dark side of London fascinates those able to view it from a safe distance. By the time of the Ripper, public hangings, complete with printed confessions sold for a penny, had long been entertainment. Relics of famous crimes were sold in the streets, tourists went to the mental hospitals to gawk, and Madame Tussaud created her waxwork Chamber of Horrors, depicting the true crimes of the day. Plays and novels followed where the newspapers led, presenting melodramatic versions of famous murders—or entirely bizarre urban legends, like Spring-Heeled Jack. On top of this was a fascination with the duality of the human psyche—just before the Ripper’s arrival came Stevenson’s smash hit Dr. Jekyll and Mr. Hyde. By 1888, the public appetite for Gothic drama was prodigious.

A climate of social unrest underscored this mood. The Ripper murders are generally agreed to begin in April or August of 1888. Scant months before, soldiers mounted a bayonet charge against jobless protesters in Trafalgar Square. In simplistic terms, the incident reflected the deep division between the prosperous ruling class, who lived mostly in the West End districts like Mayfair, and the impoverished areas of the East End, such as Whitechapel. The East End also housed the migratory population of the docks, abused factory laborers, and immigrant populations. Is it any wonder the bogeyman of the day sprung from those desperate streets? The Ripper was a personification of middle-class fears.

And then there were the police. They had been increasing their numbers over the past few decades, but rather than increasing a sense of safety, public attention was fixed on a series of scandals that undermined their credibility. Missteps during the Ripper investigation gave the public ammunition to criticize, and the press lovingly documented every moment of the train wreck.

As mentioned above, one of the difficulties with the Ripper case is knowing when it began and ended. Prostitutes were frequently murdered, and despite general indignation at police inaction, not much ever got resolved. Were Emma Smith and Martha Tabram Jack’s victims, or those of another? They both had violent deaths—Tabram was stabbed 39 times—but were not mutilated on the scale of later victims. It was those breath-taking excesses that signaled something new was afoot, and the press got to work.

Delicious Gothic horror. Simmering social anxiety. An excuse to air grievances against whoever came to hand—corrupt officials, suspicious radicals, unionists, foreigners, and an unpopular and inept police force. Jack the Ripper’s crime spree was an editor’s dream moment, ripe for endless titillation. Crime sells papers, and the presses ran around the clock during peak carnage. With improved printing technology, illustrated depictions of crimes could be reproduced in greater detail than ever before. Concerned citizens worried that such graphic displays might unbalance the minds of readers, much like the complaints about modern video games. Such quibbling stopped no one—the papers kept the Ripper Murders in the public eye as long as they possibly could.

Much of what we know about Jack the Ripper–including the name–came from a series of notes written by Jack to Scotland Yard and the Central News Agency. The true origin of these letters is doubtful, and their timing perhaps calculated to revive public interest during a slump. The grammar and word usage suggest a forger attempting to appear uneducated. Did the press write the letters themselves? It’s a popular theory, and if that’s true, the version of Jack we carry in our imaginations—taunting, cannibalistic, almost cheeky—is a pure fabrication. The media put a face on the most famous serial killer of all time to boost circulation.

Is that what actually happened? As with so much of the case, we don’t know the truth. There is even some uncertainty over who was the last victim—Mary Jane Kelly, or another murdered prostitute. What we do know is that sometime around 1889 the murders stopped and Jack’s audience moved on. In 1890, Wilde’s The Picture of Dorian Gray appeared, summing up the public’s troubled self-reflection.

Popular attention is fickle, and even Jack the Ripper couldn’t hold center stage forever. Another fascination was pushing Gothic melodrama aside—the clear-eyed rationality of the consulting detective. While the genre was not new, its popularity rose, giving readers the opportunity to solve crimes from the comfort of their firesides. Times had changed and, after the Ripper’s confounding chaos, certainty, justice, and the ever-increasing power of science held appeal.

It was time to invent a new avatar.


Victorian Insults

Emma Jane Holloway
June 4, 2019  •  No Comments

Insults


Writing Strong Women in Historically-Based Fiction


June 3, 2019  •  No Comments

What do you do when your assassin is supposed to sneak across the rooftops wearing a corset, a bustle, and high heeled boots? Setting stories in historical (or historical-like) settings opens the door to any number of head-scratching issues, and wardrobing is just the start.

Since I’m a history nerd, I want to understand the era I’m drawing from both in terms of events and how people saw the world. The characters who walk through our stories are individuals, but individuals are shaped by the world around them. At the same time, a storyteller needs to find their particular sweet spot between an authentic historical setting and a tale that thrills modern readers. When it comes to creating a strong female protagonist, bridging that gap takes some finesse.

Finding role models for our heroines takes a bit of homework, but it’s possible to find female painters, composers, explorers, scientists, activists, intellectuals, entrepreneurs, doctors, and everything else in most time periods. All the same, despite some exceptional examples (Anne Bonney, anyone? Elizabeth Tudor? Joan of Arc?) women in past centuries were frequently banished to a supporting domestic role.

In Western European history—I use this as an example as I’m most familiar with it, but it is far from the only source material available—females were legally under the control of their husband or closest male relative, with little agency of their own. Even worse for the novelist, unmarried women of respectable families were not allowed to be alone with a man who was not a relative—certainly not behind closed doors—and never stirred out of the house without a chaperone. This makes it desperately difficult to have your protagonist spy, sneak, or otherwise get up to mischief. There is a reason widows are common in fiction—it was one circumstance that gave women a degree of freedom. Depending on the marriage contract, a widow might inherit an independent income and property of her own. For the first time in her life, she openly enjoyed a degree of self-determination—but only if she had money. Otherwise, marrying again was better than the alternatives. According to some scholars, during the Georgian era one in five women were in the sex trade just to feed themselves.

Find out what challenges a woman would face in a particular time period and to make good use of those barriers. Showing a heroine navigating constraints builds tension and demonstrates how clever she can be. Whether she outwits Society’s gatekeepers, crushes the opposition, or intentionally blows off convention, pushing back against the world around her will show her character. If there are serious consequences for failure, so much the better for the story.

I’ll add one safety tip: when pitting a protagonist against the conventions of her time, zero in on the exact decade if possible. The definition of socially acceptable behavior changed over time, and sometimes more rapidly than one assumes.  Most associate the nineteenth century with an elderly and unamused queen, but the 1800s stretched from the Napoleonic era with its see-through gowns and ribald Prince Regent through the corseted and moralizing mid-century and onward to those shocking Edwardian suffragettes. The differences are as acute as those between Carolyn Lamb, Charlotte Bronte, and Emmeline Pankhurst. Masked balls went from scandalous affairs to something holiday-makers did for fun. This all makes sense—we have different attitudes than our great-grandparents, after all. We would expect someone looking back on our own century to know the difference between generations, and so would our protagonists.

Once the time period is nailed down, the next question is how faithfully a story will stick to it. A fast-paced adventure will undoubtedly take the heroine out of the drawing room, possibly with a loaded weapon.  How the story world is portrayed is entirely up to the author. If the desire is to paint an environment that grants females more agency than was the historical norm, go for it as long as it makes sense with the rest of the society and culture in the book. If this is historical fantasy, are we talking dragons, dirigibles, or full on wizardry? How action-oriented will our heroine need to be? What are the rules of engagement? Is she alone, or are all the cool girls shooting zombies? These factors become the new normal for the heroine and need to be treated just like every other element of setting and backstory. People are shaped by their environments, their circle of loved ones, and the ideas they’ve absorbed over their lives. No maidenly miss is going to wake up one morning and think, “Yeah, I’m going to go kill people” without a LOT of context. But given the right approach, we’ll believe in her.

A really good example comes from George R.R. Martin’s Game of Thrones series. Brienne of Tarth is a female knight and utterly at odds with her culture’s concept of womanhood. She’s physically capable of combat, trains hard, and walks the talk. But however competent she is, she is ridiculed. Her dream comes at a cost and it’s hard. One reason she works so well as a character because we fully understand what’s expected from her, how she’s departed from that, and what it’s cost her. Although she’s unique, she is entirely consistent with the historical setting Martin has created. As with many of his female characters, Brienne believably checks all the action-adventure boxes, but it’s a bumpy road.

To recap, when writing a heroine who is going against the norms of her historical period, tell us why she’s doing it, what the consequences are, and how she justifies her behavior to herself and others. Most of all, be consistent with her background. If she picks up a steam-powered aether gun, how does she know how to use it? Why does she think it’s okay? Has she done it before and will she do it again?  How does she feel about the episode afterward?  Is she forced to redefine who she is once the adventure begins? Most of all, tell us her story with as much emotional truth as you can. Then stand back and let her shine.

 

 

 

 

 

 


Eat Like a Victorian—on burgers, fries, and soda


June 2, 2019  •  No Comments

Nothing quite says modern hustle like burger joints, food trucks, and grabbing junk food for that night’s Netflix binge. Fast food answers the problem of our hectic lives, where there’s places to be and work to be done and absolutely no time to spend crafting artisan eats in the kitchen. Plus, many so-called kitchen nooks in new apartments are barely big enough to comfortably butter toast, much less mess around with stock pots and canning jars. Picking up something to go is the obvious answer.

This need isn’t new. As long as there have been hungry people, there’s been food for sale in easy-to-eat forms. Ancient Roman thermopolia provided affordable take-out. Street vendors have been around as long as hungry urbanites have existed. Pretty much every culture has the “stuff wrapped in bread product,” whether that’s samosas, Cornish pasties, or the Czech klobasnek/kolaches. In the old days, if you were out harvesting in the fields or heading down a mine shaft, you wanted food that can be stuffed in a pocket to eat later. We might have better health regulations, but the principles behind fast food remain the same.

The pedigree of some current favorites is fun to look at. Hamburgers and hot dogs immediately come to mind, since they follow the meat-in-bread pattern. Speculation has it the essential ground meat that makes up the hamburger patty was introduced to Europe by invading hordes in the thirteenth century. Tartar horseman stashed raw meat beneath their saddles to tenderize it, a practice that was happily abandoned by later chefs. In the seventh century, Russians brought their version of the dish, steak tartare, to Hamburg, Germany, where it morphed into the cooked version we know now.  In the early 1800s, the “Hamburg steak” was well-enough established to be included in the Oxford English Dictionary. The dish emigrated to America in the mid-1900s and eventually appeared with a bun at the 1904 St. Louis World’s Fair. The first burger chains appeared in the 1920s and the cheeseburger debuted a decade later.

Hot dogs followed a similar path. Sausages have been around since the ancient world, ultimately establishing themselves in the German cuisine that came to America in the mid-1800s. Around 1870, a German immigrant named Charles Feltman set up a food cart on Coney Island and did a brisk business selling sausages in a bun. From there they were introduced at ball parks as a snack to go with beer.

What about sides? The history of French fries is contested, with origin stories dating back to the seventeenth century. Belgium is petitioning UNESCO to endorse the fry as an icon of Belgian heritage. The story goes that in 1680 the River Meuse froze over, preventing citizens of Namur from catching and frying the small fish they were used to, so they fried potatoes instead. American soldiers, evidently confusing French-speaking Belgians with their neighbors, encountered the fried treat during WWI, taking so-called French fries back to the US.

There are other contenders for title of fry inventor. Spain has a claim. After all, they introduced the potato to Europe in the late 1500s after learning about it in the New World. France maintains an eighteenth-century street peddler on Paris’s Pont-Neuf bridge introduced French fries to the world. Canada has a special affinity since fries are an integral ingredient in poutine (invented in Quebec the 1950s). Without argument, America eats the most per capita.

The first recipe for onion rings is more certain. It’s generally agreed to have been published in John Mollard’s 1802 cookbook, “The Art of Cookery Made Easy and Refined.” Mollard was a cook and proprietor of the Freemasons’ Tavern at Lincoln Inn Fields in London. However, the dish did not become popular until it emerged in its full cholesterolific glory in twentieth century America.

Speaking of fried food, the potato chip was invented by the appropriately-named George Crumb in 1853, a chef in Saratoga Springs, New York. Originally called Saratoga Chips, they were eventually made and marketed by a company in Cleveland, Ohio. Herman Lay introduced potato chips to many customers from Atlanta to Nashville by selling them from the trunk of his Ford Model A. He eventually founded H.W. Lay & Company, which merged with the Frito Company in 1961, which eventually merged with Pepsi-Cola.

Naturally, we want something to drink after eating all these salty foods. Mineral waters have been consumed since Roman times, as they were believed to have curative powers. Readers of Regency novels will be familiar with invalids “taking the waters” at various spas. A man-made version of carbonated beverages was first produced in the 1760s by adding chalk and acid to regular drinking water. Initially, wine was added as flavoring, but various sweet syrups followed and by the 1840s, soda fountains began appearing in pharmacies.

In 1876, Philadelphia pharmacist Charles Hires concocted a mixture of herbs, roots and berries and added it carbonated soda water to produce the first root beer. In 1886, another formulation containing coca leaves and the caffeine-rich kola nut became Coca-Cola. Marketed as a tonic, the original formula contained extracts of cocaine, which wasn’t illegal at the time. In 1893, Pepsi-Cola was introduced as a digestive aid. Soon bottling facilities replaced soda fountains and, by the 1920s, soft drinks were available via vending machines. The medicinal claims surrounding such beverages were dropped and as early as 1942, the American Medical Association was specifically mentioning soft drinks as it recommended consumers limit their intake of sugar. As the saying goes, the more things change, the more they stay the same.

The Slow Food movement aims to recover the joys of delicious home cooked cuisine, along with traditional methods of preparation. However, as the hipsters rush to rediscover bone broth and artisan sauerkraut, it’s worth remembering that food is as variable as the people who eat it. Our cuisine has a complex family tree, along with a few crumpled food wrappers tucked in the branches. Fast food—despite the overwhelming corporatization involved—is equally traditional, with a centuries-long story of its own.

 


Happy, pretty things


June 1, 2019  •  2 Comments

I love illustrated books, especially older ones with hand-drawn and tinted plates. While lots of my favorites are illustrations of novels and children’s stories, I’m fond of old scientific works as well. Botany texts, seed catalogues, and gardening manuals offer a wealth of gorgeous illustrations (as well as information on how to grow things without a boatload of chemicals). Some varieties that show up aren’t that common in modern gardens, so they are great references when looking for heritage specimens.

Recently I brought home a lovely old English (1843) volume because, y’know, book research.

Here’s a sample page of The Floricultural Cabinet and Florist’s Magazine, conducted by Joseph Harrison, editor of the Gardener’s Record, etc.:

 

I find a quick dose of happiness in the New York Botanical Garden page a day calendar (willowcreekpress.com). It alternates modern photographs of their amazing facility with antique botanical illustrations. I keep this on my desk at the day job so I can take a quick mental vacation to a beautiful green space as required.

Here’s a link to the garden itself:  https://www.nybg.org/.  The online shop is fun for gardening fans.

 


Keep a curious mind


February 17, 2019  •  No Comments

Ever have one of those dreams where you wake up back in high school about to write a math test? You think you should know how to do the problems—and clearly the teacher does—but it’s all a bunch of squiggles on the page?

My first forays into indie publishing felt like that at first. I’d been traditionally published for a lot of years, but did that help me self-publish books? The answer is: some times more than others.

Even late adopters have been forced to respond to the changing face of publishing. Everyone has to be largely self-sufficient when it comes to marketing their work. Even if publishers want to do a good job promoting a book, they may not have the resources, agility, or access to the right tools. These days, it’s up to the author—however their book got published—to attract an audience.

But unless you’ve been taught to market, how do you know what to do? The same goes for formatting, finding covers, hiring editors, and all the myriad steps involved in putting a book out on your own. Remember that dream about an algebra exam?

I had to approach everything with the curiosity of a raw beginner, and I think I’ll keep that mindset for a long time. Wherever an author is along their publishing journey, it’s impossible to know everything because there are so many constantly moving parts. If I have any advice for someone transition from trad publishing to indie, it’s this: Be open, be willing, seek advice, and give yourself permission to push your boundaries. Above all, remember to have fun!


We’ve only just begun


February 10, 2019  •  No Comments

I remember the first e-reader I owned. It was a lovely red Sony thing that became obsolete almost before I figured out how to use it. That beautiful toy was like a lot of the publishing world in that moment—an industry founded on physical art was suddenly forced to reinvent itself in electrons. Everywhere one looked, awkwardness ensued.

As much as I loved that Sony, I don’t identify with it. Unlike my barely-cordless friend, as an author I was able to adapt and carry on. And as antiquated as my traditional publishing roots may seem to some, I value the lessons I learned along the way.

My first published book came out it 2006, but before that I wrote for newspapers and magazines. The best and most brutal of editors, in my opinion, work in print journalism. You write fast and you write concisely. If you can’t tell a story in 300, 800, 1000 or however many words are allowed, you don’t get any more freelance assignments. Do or die. Miss the cut-off for filing your piece and you don’t get paid. It’s a bit like boot camp for paragraphs.

I’ve also had the privilege of working with some amazing fiction editors, and that kind of coaching is priceless. Some were gardeners, shearing and pruning to shape the, um, abundance I presented. Others taught me to plot, build worlds, and dig deep for emotion. They all had a lesson for me, however delightful or dire, and I value every one.

I learned about that side of the writing business, too. I learned to pitch, to pick my battles, and to negotiate with other publishing professionals.

Indie publishing deals with the same things, but the approach is a little different. I can’t say what it’s like coming to indie first, because that wasn’t my experience. What I do know is that I’m incredibly grateful for a solid training in the craft. However, unlike that Sony, I’ve had to evolve. However excellent a foundation I had, I’ve had to keep on learning, and learning, and learning.


Addictive world-building


February 7, 2019  •  No Comments

I was thinking about what I wanted most in a story. Some like spooky chills, others the heartache of a great romance. For me, it’s the OMG wonder of discovering an amazing world. Prydain. Middle Earth. Westeros. I love a fully-formed fantasy realm I can walk into and find friends waiting for me. I don’t take to most I find—I’m picky and take a while to settle in—but I’m loyal once it’s won me over.

I think part of the problem with finding a truly satisfying realm is that they’re hard to build. It goes far beyond naming kingdoms and drawing maps. There is a terroir that infuses everything so that the reader instinctively knows the smell and texture of each item in the place. Great authors can spin that out of the aether, making it distinct and complex and madly simple all at once. The characters grow from it (or vice versa) so that even the agents of change are the natural extension of the realm’s internal conflicts. It’s all terribly logical and consistent, as if the reader is encountering a history rather than a piece of fiction.

I read these things and think: I wish I’d written that. And somehow, weirdly, feel as if I have because the author has made it so incredibly real it’s become part of me just by looking at the page.

Is that writing or summoning a world?