This week, 7 – 13 March, Smashwords is having a sale! Their 12th annual Ebook Week is to encourage readers to find new books, enjoy more reading, and to promote authors. All of my books are 50% off this week only – so click here and head over to check them out! If you’ve already read one or more or my books, please leave a positive review if you enjoyed them – reviews go a long way to generating more views, and more readers! Thank you! Enjoy, and pass the word!
Tag Archives: Asunder
Back in 2015, my husband and I spent a few days in Gibraltar; it was the starting point for the first leg of his “south to north” European bike trips and a research trip for me; the book that resulted from such inspiration was “Asunder“.
Gibraltar is a tiny outpost of Britain at the gateway to the Mediterranean, spitting distance from Spain (as a matter of fact, I walked across the border and it took all of 2 minutes). Its history is disproportionately immense, spanning thousands of years, as it has always been a strategic nautical or military location. You can’t walk down a single street or lane without being reminded in some way of its military history: There are cannons everywhere, street names and square names reflect either military leaders or garrison locations, and even the town’s parks are walled in by fortress walls. The first known name of Gibraltar was “Calpe”, likely the Phoenician verb “kalph”, to hollow out, perhaps in reference to what is now known as St. Michael’s Cave. There was a Roman occupation, and in 400 AD, eastern barbarians invaded; Vandals, then the Goths, and then Berber Muslims followed. In 711 AD Tarik ibn Zeyad landed, leaving behind his name: The Arabic phrase “Jebel Tarik” (Tarik’s Mountain) has been corrupted into the modern name of Gibraltar. For over six centuries, with the exception of 1309 to 1333, the Rock was under Moorish occupation, though no town existed until 1160 (there were only fortifications).
In 1462 Gibraltar was retaken from the Moors by the Spanish; from there it was quibbled over between Spanish dukes, kings and queens until the Treaty of Utrecht in which Gibraltar was yielded to the Crown of Great Britain “forever”. The Great Siege, 1779 to 1783, was Spain’s last great attempt to reclaim the Rock, and it led to the vast destruction of the town and fortifications. Spain has never forgotten the sting of losing Gibraltar, and Brexit is likely a daily topic of discussion; Gibraltar is not part of the UK but is a British Overseas Territory, and voted strongly to remain in the EU; what they will be after Brexit finally comes about is uncertain. Chances are, it will become Spanish once again, or come under co-sovereignty with Spain and Britain.
In the 19th century the phrase “As safe as the Rock of Gibraltar” entered the English language, as Gibraltar became renowned for its impregnability. A civilian community began to grow up within the safety of the fortified walls, earning their living from commercial trade. Today, there is still a British and American military presence, and the local language is a mixture of Spanish and English.
The Rock is dominated by the presence of the only wild monkey population in Europe, of the Barbary macaques breed; they were most likely brought as pets during the Moorish occupation. Tourists are lower in the pecking order than the monkeys – because, in their social hierarchy, the lower in rank give their food to the higher in rank… just remember that the next time you want to feed monkeys. They usually stay up on the Rock, though we were warned not to leave our hotel window open, just in case. If they get half a chance, they’ll steal your picnic. When we first went up to the Rock, we were dismayed by the amount of rubbish everywhere, assuming it was discarded by careless humans; but it was, in fact, thieving monkies who don’t throw rubbish into the bins! And monkies were everywhere; walking toward St. Michael’s cave, we passed baby monkies playing, completely oblivious to humans; they know they’re celebrities up there, and they use it to their advantage every chance they get!
If you ever get the chance to go to Gibraltar, it’s well worth the experience. A week will give you ample time to enjoy everything it has to offer. If you like history and military history, you’ll love every nook and cranny of Gibraltar!
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These days I’m getting ready to publish my fifth novel, the third instalment in The Northing Trilogy, called Asunder. In preparation, besides all the tasks such as final editing, formatting, writing blurbs, back cover copy, graphics and cover designs (to name a few!), I’ve also been reading books on the technical aspects; I don’t know about you, but I tend to avoid the bits such as marketing. That term tends to engender visions of those flashy pop-up ads that interrupt my focus with demands. I hate those things. Though marketing is integral to getting the word out about my books and other publications, I used to think of it like a kind of math homework… I put it off as long as possible! I’m gradually warming up to it.
Having said that, I’ve just read a great book by James Scott Bell, called Marketing for Writers Who Hate Marketing. How did he know? It was a relief and an encouragement to realise that a) I must not be alone in my feelings toward that topic, and b) I’d been doing a lot of it right instinctively, with one exception: In light of his advice, I’ve decided to set up a mailing list.
Here’s my idea: With those who sign up on my contact page, I’d like to share occasional insights into my writing process that I don’t often share on this blog; I’ll also share things like information on resource material that I use in either publishing or research. I’ll let you be the first to know about new releases, and to inform you when a sales promotion or special offer is coming up.
Don’t worry – I won’t flood your inbox with emails. Our generation is on information overload as it is so I will keep my emails to a minimum, but I hope to make it well worth your while to read them when they arrive. I’m looking forward to this new venture; it’s been a long time since I wrote letters to friends, and that’s how I see this – from me to you.
To sign up, just fill in this contact form. Thank you, and I hope we have a great journey together!
POV is shorthand in the film industry for “point of view” – in that context, it has to do with not only the narrative context but also the camera angles and editing process. Changing the POV can affect the way the audience – or readers – perceive a character, an event, or the overall atmosphere of a scene.
Recently I was watching a history documentary series from BBC called, “British History’s Biggest Fibs”, with Lucy Worsley. The basic point of the series is that history is subjective; whoever wins gets to name the battles, and shape future generations’ perceptions about events; the victor gets to smooth over their own weak points and play up their heroism for posterity. PR and spinning a good yarn helped to shape how reigning kings were perceived and toppled, or usurpers could style themselves as “successors”.
When writing a novel, the POV can drastically change a scene either from the inside, or the outside, or both; by that I mean that either the scene itself changes “camera angles” to tell the story from a slightly different perspective, or that something within the scene shifts slightly, affecting the reader’s perceptions of characters or events in the scene. For example: I was reading through a particular scene in my current manuscript that I knew I wasn’t happy with, but couldn’t put my finger on exactly what it was that bothered me aside from the outcome. The scene involved an unjust flogging aboard a Royal Navy ship. The officer on duty was forced by the captain to either flog the innocent man or be punished worse in his stead. The original scene played out with the officer carrying out the punishment unwillingly but obediently. The scene’s purpose is to show the gradually decaying grip on reality in a captain going insane; I wanted a stronger contrast, and so I tweaked the dialogue, which changed the outcome: The officer refuses to punish the innocent man and takes the punishment on himself. This outcome builds far more tension among the crew, gives grounds for retribution against the true instigator (a snivelling King John’s man of a junior officer), and contrasts the honourable dealings of the officer on duty against the captain’s failing sense of right and wrong. By shifting the scene slightly, I take the reader and myself down a much steeper path.
In this illustration from Marvel’s Avengers film series, the camera angle chosen gives much more of an adrenaline rush than, say, if you were passively watching from off to the side; the fact that the arrow’s flying straight at you gives the scene that extra “kick”.
If you find yourself staring at one of your scenes – or even an entire premise of your story – that you’re not satisfied with, trying shifting the POV (sometimes it helps me to refer to it as the “camera angle”). Put your inner eye’s camera in a different position in the scene, and see if that unlocks the key to improving that scene, the story arc or a character’s arc. Keep writing!
The Art of Cookery made Plain and Easy was written in 1747 by Hannah Glasse (1708-1770) and played a dominant role in shaping the practices of domestic cooks in England and the American colonies for over one hundred years. It is an excellent reference for historical writers, reenactors, and living museums. Hannah wrote mostly for the “lower sort” as she called them, domestic servants who might not have had much exposure to various cooking techniques or ingredients before entering the service of a larger household. She wrote it in a simple language, and can come across at times quite condescending; her writing style, spelling variations (including capitalisation which was much like German, with all nouns capitalised), and punctuation are in themselves a fascinating look at the standard of printing and editing, and what was most likely “acceptable English” of the times (I dread to think what future generations might assume is the “standard” of our own times, based on the slipshod average of what is unleashed online…!). I’ve tried to leave Hannah’s work as-is, though sometimes the auto-correct sneaks by even the most diligent.
In my current manuscript, the third book in The Northing Trilogy, Asunder, my heroine goes from being of the upper class to marrying a lieutenant in the Royal Navy, disobliging her family and being cut off by the father. Her mother sends her Hannah Glasse’s book, and she writes a journal entry regarding her use of it and trying to decipher just what is meant by instructions that, even with the attempt at instructing servants new to the kitchen, assumes a great deal of pre-knowledge (e.g. “first skin the meat and take off all the fat” or “chicken, which must be very nicely picked and clean“).
She had a very clear opinion as to what was right and wrong, how a thing was to be prepared and “there is no other way to do it right.” Many of the “receipts” (recipes) are still known, such as Hasty Pudding or Yorkshire pudding, while others would be unthinkable – whole Woodcocks, Ortolans and snipes (with nothing removed), or how to prepare meat when it’s begun to stink. They served every part of the animal, from entrails neatly presented to split skulls (with specific directions for how to lay the tongue most becomingly…). There were a surprising variety of spices, herbs and ingredients used, and which she assumed every household would have on hand, such as China root, balsam of Tolu, and liquorice; she even included a few Indian curry recipes, reflecting the East Indian connections. She minced no words on what she thought of extravagant (read wasteful) French cooking habits, and her disdain was evident in numerous passages. Her recipes were by no means all original; many were common sense, but many were also shamelessly plagiarised from other published works (perhaps we should be grateful for that now, as otherwise they might have been lost to the mists of time!). There are recipes of how to certainly avoid the plague, how a ship’s captain could have food prepared for long voyages, and recipes for medicinal purposes.
Not all homes had ovens, and in one recipe it is worded “send it to the oven… when it comes home” – this would imply that it was sent to the village bakery, and brought home to finish off once it had been sent away to be baked. Because of that limitation, many recipes are for boiling; they seemed to boil the living daylights out of meat, vegetables, or anything else that they could put in a pot.
It is a fascinating historical document, reference work and recipe source (many, purely for the pleasure of grossing out your kids or guests) for those interested; but for those not interested, it would be a torture for me to post hideously long blogs on the topic. The book can be found nowadays on Amazon in paperback, or online in PDF format. Below, I’ll share the original “pre-index” image, and her own personal note “To The Reader”, which in and of itself is entertaining, informative and historical. She minces no words on her disdain for the French, so to my French readers, I ask that they please take it on the chin with a pinch of salt and a wink!
Hannah Glasse’s “To the Reader.”
“I Believe I have attempted a branch of Cookery, which nobody has yet thought worth their while to write upon: but as I have both seen, and found, by experienced, that the generality of servants are greatly wanting in that point, therefore I have taken upon me to instruct them in the best manner I am capable; and, I dare say, that every servant who can but read will be capable of making a tolerable good cook, and those who have the least notion of Cookery cannot miss of being very good ones.
“If I have not wrote in the high polite style, I hope I shall be forgiven; for my intention is to instruct the lower sort, and therefore must treat them in their own way. For example: when I bid them lard a fowl, if I should bid them lard with large lardoons, they would not know what I meant; but when I say they must lard with little pieces of bacon, they know what I mean. So, in many other things in Cookery, the great cooks have such a high way of expressing themselves, that the poor girls are at a loss to know what they mean: and in all Receipt Books yet printed, there are such an odd jumble of things as would quite spoil a good dish; and indeed some things so extravagant, that it would be almost a shame to make use of them, when a dish can be made full as good, or better, without them. For example: when you entertain ten or twelve people, you shall use for a cullis, a leg of veal and a ham, which, with the other ingredients, makes it very expensive, and all this only to mix with other sauce. And again, the essence of ham for sauce to on dish; when I will prove it, for about three shillings I will make as rich and high a sauce as all that will be, when done. For example:
“Take a large deep stew-pan, half a pound of bacon, fat and lean together, cut the fat and lay it over the bottom of the pan; then take a pound of veal, cut it into thin slices, beat it well with the back of a knife, lay it all over the bacon; then have six-penny worth of the coarse lean part of the beef cut thin and well beat, lay a layer of it all over, with some carrot, then the lean of the bacon cut thin and laid over that: then cut two onions and strew over, a bundle of sweet-herbs, four or five blades of mace, six or seven cloves, a spoonful of whole pepper, black and white together, half a nutmeg beat, a pigeon beat all to pieces, lay that all over, half an ounce of truffles and morels, then the rest of your beef, a good crust of bread toasted very brown and dry on both sides: you may add an old cock beat to pieces; cover it close, and let it stand over a slow fire two or three minutes, then pour on boiling water enough to fill the pan, cover it close, and let it stew till it is as rich as you would have it, and then strain off all that sauce. Put all your ingredients together again, fill the pan with boiling water, put in a fresh onions, a blade of mace, and a piece of carrot; cover it close, and let it stew till it is as strong as you want it. This will be full as good as the essence of ham for all sorts of fowls, or indeed most made-dishes, mixed with a glass of wine, and two or three spoonfuls of catchup. When your first gravy is cool, skim off all the fat, and keep it for use. – This falls far short of the expense of a leg of veal and ham, and answers every purpose you want.
“If you go to market, the ingredients will not come to above half a crown, or for about eighteen-pence you may make as much good gravy as will serve twenty people.
“Take twelve-penny worth of coarse lean beef, which will be six or seven pounds, cut it all to pieces, flour it well, take a quarter of a pound of good butter, put it into a little pot or large deep stew-pan, and put in your beef: keep stirring it, and when it begins to look a little brown, pour in a pint of boiling water; stir it all together, put in a large onion, a bundle of sweet herbs, two or three blades of made, five or six cloves, a spoonful of whole pepper, a crust of bread toasted, and a piece of carrot; then pour in four or five quarts of water, stir all together, cover close, and let it stew till it is as rich as you would have it; when enough, strain it off, mix it with two or three spoonfuls of catchup, and half a pint of white wine; then put all the ingredients together again, and put in two quarts of boiling water, cover it close, and let it boil till there is about a pint; strain it off well, add it to the first, and give it a boil together. This will make a great deal of rich good gravy.
“You may leave out the wine, according to what use you want it for; so that really one might have a genteel entertainment, for the price the sauce of one dish comes to: but if gentlemen will have French cooks, they must pay for French tricks.
“A Frenchman in his own country will dress a fine dinner of twenty dishes, and all genteel and pretty, for the expense he will put an English lord to for dressing one dish. But then there is the little petty profit. I have heard of a cook that used six pounds of butter to fry twelve eggs; when everybody knows (that understands cooking) that half a pound is full enough, or more than need be used; but then it would not be French. So much is the blind folly of this age, that they would rather be imposed on by a French booby, than give encouragement to a good English cook!
“I doubt I shall not gain the esteem of those gentlemen; however, let that be as it will, it little concerns me; but should I be so happy as to gain the good opinion of my own sex, I desire no more; that will be a full recompence for all my trouble; and I only beg the favour of every lade to read my Book throughout before they censure me, and then I flatter myself I shall have their approbation.
“I shall not take upon me to meddle in the physical way farther than two receipts, which will be of use to the public in general: one is for the bit of a mad dog: and the other, if a man would be near where the plague is, he shall be in no danger; which, if made use of, would be found of very great service to those who go abroad.
“Nor shall I take upon me to direct a lady in the economy of her family, for every mistress does, or at least ought to know, what is most proper to be done there; therefore I shall not fill my Book with a deal of nonsense of that kind, which I am very well assured none will have regard to.
“I have indeed given some of my dishes French names to distinguish them, because they are known by those names: and where there is a great variety of dishes and a large table to cover, so there must be a variety of names for them; and it matters not whether they be called by a French, Dutch or English name, so they are good, and done with as little expence as the dish will allow of.
“I shall say no more, only hope my Book will answer the ends I intend it for; which is to improve the servants, and save the ladies a great deal of trouble.”
Originally posted on History Undusted, 28 May 2013
As a novel writer, I’m first and foremost a reader; I love to read, I love to buy books, smell them, feel them, upload them… any form is fine by me. I want the books I read to be witty, intelligent, and well developed in terms of plots, characters and environments.
Kitchen Sink Realism
Everyone has different tastes – that’s why there are so many different genres; but for me personally, there’s also a list of things I don’t want in a novel: I don’t want to be confronted with messy lives dealing with self-inflicted problem after problem; I don’t want tragic or sad or bitter endings; I don’t want to be confronted with the grit, grime, blood and gore of dysfunctional lives that end up learning nothing, making no character arcs, and end up in the mud by the end of the tale. This genre description actually has a name: Kitchen Sink Realism. It was a cultural movement in Britain back in the ‘50s and ‘60s that was portrayed in films, books, plays, and art – the grit, grime, anger, disillusionment and harsh realities of realistic social scenarios. It’s what might also be referred to as postmodernism. My personal response to this kind of novel is, “If I wanted that kind of realistic tension, I could just go hang out at the nearest bar.”
A Tough Nut
I once had an English student, and our focus was medical English in preparation for their upcoming medical exams (two nurses came together for semi-private tutoring). As part of the lesson we needed to work on basic conversational skills and sentence structures, and I find that the best way to bring in a wide variety of scenarios is usually to do a type of role play – nothing embarrassing, but each person is given a character to put themselves into a situation that they might not normally deal with: They may be a chef, or a secretary, or a customer in a hardware store. This particular student, when asked what kinds of books she read, said, “history and autobiographies or biographies”. When asked what novels she read, she said she found such things ridiculous and a complete waste of time (this was back before I became an author!); she categorically refused to even try to put herself into someone else’s shoes for the scenarios. My impression of her as a person was that she was narrow-minded, knew it, and was proud of that fact. She was a hard character, and all the time I knew her or met her afterwards, I never saw a soft side emerge, either toward herself or toward others; I often found myself wondering why she’d gotten into the nursing profession in the first place – as a patient, I wouldn’t necessarily want her working on my ward… A line from the novel I’m currently writing (Asunder, the third book in the Northing Trilogy) would have fit her life too: “he has never had the propensity for engendering compassion; I pray he never needs it, as he never gives it.” An epic love story might do her a world of good.
What’s Worth Reading
What I want when I read a book is to be transported into another life, whether that’s in the past, present or future, on this earth, or on another planet, or in another dimension; I want to be entertained, made thoughtful, learn something about the world around me, and learn something about myself. Ideally, I will come away from the experience having been changed, in even a small way. I want to feel connected; somewhere out there is a person I can relate to – whether it be the author, or the character, or other readers that appreciate the same books.
Aside from places and times that are genre-specific, such as science fiction and alien planets in the future, or London in the 18th century, all of the elements of what I like in novels are universal. Humans the world over, in every century, want to feel connected; to feel that they can relate to something someone else is going through; even to have parts of their own life’s experiences explained through someone else’s perspectives in similar circumstances. Above all else, at the heart of every good novel – regardless of the genre – is a story of love; that is the ultimate connection between characters. It may be a child finding the love of a family after being shoved through the knocks of life too much for their age; it may be the hero or heroine finding love; it may be a widow or widower finding love again, or reuniting with true loves; it may be someone coming to the point in their life that they accept and love themselves just the way they are.
On to You!
When you read novels, what is it you’re looking for? I would love to hear about it – please comment below, even if it’s just a few key words!