All historical fiction readers understand the power of Then. The lure of an unknown time or place which is only unknown because it happened to take place before we were born. Unlike fantasy, this is an unfamiliar world which, if we took them back far enough, our own flesh and blood ancestors would be able to recognise. The small everyday details are what represent for me the power of Then. The type of flax cloth used for washing your face, the way a fire was lit with a tinder-box, the particular smell of tallow candles, the tickle of a feather in your hat. As a novelist my job is to place the reader in that time, but only recently have I come to understand that the job of doing that is really all about the power of Now.
The best plots spring straight out of Character. In other words, if my characters have strong enough motivations, particularly opposing ones, then the plot will naturally arise from their thoughts and actions. My most convincing writing arises when I inhabit the character so well that I lose track of time and am fully in the Now with that person going about their daily life. When I am trying to force the character to conform to a plot idea, historical event or action, then the writing becomes harder and less natural. Much of it is about listening to the character's voice and letting them speak.
|The British Library|
And I wondered how this would change as they went on the run in the big city, whether they would learn new ways of speaking or new ideas, or yearn for new horizons. And of course they do - the city moulds them into someone different, but not just the city, the London characters they meet; the wigmaker, the pawnbroker, the astrologer.
Of course I live in the twenty first century so after my research the voices I heard in my head were not pure 17th century, but unique voices, a blend of 17th and 21st century expression. It is odd, but once I can hear my characters speak, then the characters become flesh and blood. Them surprising me is all part of the Power of Now. This is probably one of the reasons why I enjoy writing my books from several different contrasting viewpoints. I spend time in the company of each character, walk a few miles (or chapters) in his or her shoes.
For The Gilded Lily that meant becoming so familiar with my 17th century map of London that I could literally walk the city streets and turn left and right from Sadie and Ella's lodgings to the Pelican Coffee shop where Jay Whitgift, the handsome, but deadly, rogue did his business. As I went I practised walking as they might walk, looked up at the landmarks on the way.
For me, a narrative structure arises from the choices of my characters not from my own choices. How can that be, when I am both creator and created? This is the mystery and excitement of writing for me - the discovery of a great adventure, or that moment when I come back to myself and read it back, and see that the character is alive there on the page.The Power of Then, and the Power of Now.
THE GILDED LILY
England, 1660. Ella Appleby believes she is destined for better things than slaving as a housemaid and dodging the blows of her violent father. When her employer dies suddenly, she seizes her chance - taking his valuables and fleeing the countryside with her sister for the golden prospects of London. But London may not be the promised land she expects. Work is hard to find, until Ella takes up with a dashing and dubious gentleman with ties to the London underworld. Meanwhile, her old employer's twin brother is in hot pursuit of the sisters, and soon a game of cat and mouse begins. As the net closes on the girls, danger looms from quite another unexpected horizon...
UK version out 13 Sept
US version out 27 Nov