A Little Late to the Party


OLYMPUS DIGITAL CAMERAIs that Next Big Thing blog meme still making the rounds? I sure hope so, because I was tagged weeks ago and I’m just now getting around to joining the fun. Thanks to Paul August (a prolific poet) for mentioning me in his Next Big Thing post. Go take a peek at what’s in his sights, a chapbook of his poems entitled, Apologizing to Fish.

Speaking of apologizing…I don’t mean to make excuses, but (the inevitable “but”), there are two reasons why I waited so long to write my NBT post: 1) all my writing friends have been tagged and been more timely in their posting (when you procrastinate, you miss the party) and 2) I find it difficult to talk about a project I secretly fear may never be finished (there. I said it).

Earlier this year, though, I wrote about my new rally cry, fearless writing, and I realized that filling out these questions is yet another way to take a risk: share your hope, imagine The End in sight.

My Next Big Thing

1) What is the working title of your book? The Company Town.

2) Where did the idea come from for the book? During a visit to a historical site, an old iron smelting town in Upper Michigan, I stepped into one of the laborers’ cabins and felt the weight of more than just history. It was the pull of stories from the people who had lived there. When we drove home that day, I wrote feverishly in the back seat of the car, trying to re-capture every sight, feeling, thought that came to me when we walked the grounds.

3) What genre does your book fall under? Historical fiction.

4) Which actors would you choose to play your characters in a movie rendition? I barely survived the first draft. Thinking about a movie rendition is like dreaming of how I will spend those lottery earnings when I haven’t even bought the ticket. Girl, stay in today.

5) What is the one-sentence synopsis of your book? One sentence? Don’t we get a page and a half of tiny type with skinny margins to write a synopsis? One sentence! Argh! I’m already over my quota with this answer, but here goes: A young woman mistakes a bustling factory town for a safe haven but finds she can’t escape her secrets and can’t ignore the Company’s own dark truths.

6) Will your book be self-published or represented by an agency? To that I’ll just say, I hope no agent is reading this (or that weak one-sentence synopsis) right now. Lordy.

7) How long did it take you to write the first draft of your manuscript?Too long. I kept trying to craft the perfect ending, until I thought, Oh for crying out loud. Write the last scene as you see it and be done with this. A first draft is a FIRST draft. Once I got over my angst, I reached the end in one sitting.

8) What other books would you compare this story to within your genre? Here are my ambitions: Anna Solomon’s The Little Bride, for the way place sets the mood and becomes its own character and Jenna Blum’s Those Who Save Us, for the way history propels the story.

9) Who or what inspired you to write this book? Photos of the laborers who lived in the cabins, and a book by Sarah Cowie, The Plurality of Power: An Archeology of Industrial Capitalism, which discusses all that was uncovered from underneath the surface of Fayette, markers of class structure and separation in even the smallest of communities.

10)What else about your book might pique the reader’s interest? I don’t know, perhaps photos?

Fayette
The town of Fayette, MI.
hotel
The hotel where the protagonist works.
Slag Beach, the Company dump
Slag Beach, the Company dumping grounds.
flowers on slag beach
Flowers growing on Slag Beach today.

Now, I’m directing you to a post by Rochelle Melander on her Next Big Thing. She got creative with the task of answering the list of questions and turned her post into a writing exercise for anyone who’s considering a project or envisioning their writing journey. Take a look, see where the Next Big Thing takes you.

* Book and pen photo credit: mconnors on Morguefile.com

Stories at the Table, Beginnings and Endings, and a Prompt

I love how, in continued practice, techniques naturally unfold and lessons slide into place. 

Stories

Last Saturday at our monthly creative writing class, a few core writers and I sat around the table and read our stories based on the previous month’s prompt, After the storm. We followed along the lines of Barbara Hurd’s essay, “Wordwrack: Openings,” which begins with a beautiful first line:

A nor’easter smacked into Cape Ann last night, and this morning the wrack’s dark line lies tangled and heaped.

Like Hurd, we told our own stories of storms and the debris left behind, markers – some physical, some emotional –  that became signs of relief as much as evidence of our fears.

The amazing part in listening to these stories this month was witnessing how the writing in this group has morphed from a very natural, everyday style of storytelling to a strong use of technique. A few writers made the decision not to begin their stories in a traditional way, with a mini-prologue of sorts, but to open with the moment that carried the most heat, weaving in backstory when necessary. Their stories read like true flash nonfiction: “discrete, sharply focused…[revealing] the secrets of human nature contained therein” (as Dinty Moore says in The Rose Metal Press Field Guide to Writing Flash Nonfiction).

And, the way these writer told their stories segued perfectly into this month’s topic: beginnings and endings. 

A story has no beginning or end; arbitrarily one chooses that moment of experience from which to look back or from which to look ahead.                                          ~ Graham Greene

Because the pieces we write in this group are so short and only a glimpse into our experiences, beginnings and endings are both critical in holding our readers attention or in conveying our message.

Beginnings

“[T]o begin is to commit, to stay, to hold.” ~Jenny Boully

Embryonic moments from an experience – like In the beginning or When I was born – don’t always mark the perfect opening for a story; a great beginning is when a certain energy strikes the page, when the reader tightens her grip on the book or the listener narrows his focus on what he is hearing. 

Endings

“An ending tumbles toward you over and over again; an ending will not stay flat, will not stay put; an ending troubles and taunts; an ending is sleep lost. . . . [An ending] is an emptiness that tugs you to read the ending once more, to read the beginning again.” ~ Jenny Boully

Likewise, endings do not always bring us to a nice, clean close. As in real life, endings can come without warning or they can leave us deep in thought for days, even months afterward. They might even push us to return to the beginning, to search for clues or to simply recover the emotion lost or gained in the experience. 

A wonderful example of all this is Vicky Mlyneic’s essay on BREVITY, “This I Am Allowed.” Read it, see where she begins; consider what she leaves out and where she stops. Then, turn to your own story. The place you begin and end can make all the difference. 

The Prompt

And then it happened.

* Photo credit: taliesin from morguefile.com

Author Douglas W. Jacobson on Research for Historical Novels

Douglas W. Jacobson is a fellow Wisconsinite who writes historical fiction. Both of his World War II novels, NIGHT OF FLAMES and THE KATYN ORDER, have received recognition and accolades from state organizations, and his website carries over thirty articles on World War II history (including this one, “The Story of Zegota” about Polish Christians who helped save Polish Jews during Nazi occupation).

As every writer knows, research plays a critical role in writing historical fiction, and Douglas Jacobson has done his fair share of digging into the past. Today, he talks about uncovering the best research.

Getting it Right
Doing Research for Historical Novels

As the old saying goes, “The devil is in the detail.” One of the reasons I have always loved historical fiction is that it is a truly marvelous way to learn a bit of history. Some authors of non-fiction (Stephen Ambrose comes to mind) have a flair and style of writing that make their work enjoyable and easy to read. But, in my humble opinion, there’s nothing quite like curling up with Herman Wouk’s War and Remembrance or Ken Follet’s Pillars of the Earth for the ultimate reading experience . . . and, a great way to learn history.

And that brings us to the issue at hand. Writing good historical fiction places a special burden on the author, the burden of getting it right. And getting it right doesn’t stop with the big stuff, the dates and locations, the battles and who won the war. It gets right down to the detail. For example, what would a serf in the thirteenth century be likely to eat for breakfast? What type of profanity would a soldier likely have used during the Napoleonic wars? Did the troopers of the Polish cavalry carry lances during World War Two?

It’s the detail that immerses the reader in the time and place of your story. It’s the scent of the kerosene lanterns and the smell of the boiling cabbage, the sticky mud of the footpaths and creaking of the yardarms that give a story its life and vitality. It’s what makes it real. But, making it real, of course, means doing the research.

When I set out to write my first novel, NIGHT OF FLAMES, I had been studying and reading about World War Two for most of my adult life. I knew a lot, but not nearly enough. For instance, I wanted to write about the Polish cavalry because the notion of horse-drawn armies in WW2 has been largely ignored even though almost all the armies in the first few years of the war—including those of Germany and Russia—relied heavily of horses for transportation. But how was a Polish cavalry brigade organized? What type of weapons did they carry? What did their uniforms look like? How far could they travel in a day? Where did they find food for the horses and who re-shod them when necessary? Did they really charge tanks?

Let’s stick with this issue for a moment to pursue the ways and means of research. You can learn a lot on the internet these days and, indeed, I found numerous websites filled with detail about WW2 era cavalry. I also found a marvelous book entitled, THE CALVARY OF WORLD WAR TWO, chock full of information about specific cavalry regiments from Poland, France, Germany and Russia, their organization and leadership, the types of horses and weapons, battles and anecdotal accounts. But the most fascinating of all was my experience at The Battle of the Bzura Museum in Kutno, Poland, which I visited during one of my trips to Poland. It was a treasure of maps, artifacts, displays of uniforms and weapons, canteens and knapsacks. And, even more fascinating, was an encounter the next day with an elderly gentleman in Walewice, Poland who happened to be sitting on the front porch of his home while we were wandering around the town square looking for some type of commemorative plaque. Through the translation offered by my friend and Polish history scholar, Slawomir Debski, the elderly gentleman confirmed that the Wielkopolska Cavalry Brigade did, indeed, cross the Bzura River and confront a German infantry battalion in that town on 14 September, 1939. He knew . . . because he was there. That’s the best kind of research.

And, that’s exactly the same discipline I used in researching for THE KATYN ORDER.

Douglas W. Jacobson is an engineer, business owner and World War Two history enthusiast who has traveled extensively in Europe researching stories of the courage of common people caught up in extraordinary circumstances. His debut novel, NIGHT OF FLAMES: A NOVEL OF WORLD WAR TWO, won the 2008 “Outstanding Achievement Award” from the Wisconsin Library Association. Doug’s second historical novel, THE KATYN ORDER, is a story of intrigue and danger, of love and human courage in the aftermath of one of history’s most notorious war crimes. THE KATYN ORDER received the 2011 “Honorable Mention Award” from the Council for Wisconsin Writers. Doug writes a monthly column on Poland’s experience during WW2, and has published articles on European resistance and escape organizations during the war. He lives in Elm grove, WI with his wife, Janie.

ABOUT THE KATYN ORDER:

The German War Machine is in retreat as the Russians advance. In Warsaw, Resistance fighters rise up against their Nazi occupiers, but the Germans retaliate, ruthlessly leveling the city. American Adam Nowak has been dropped into Poland by British intelligence as an assassin and Resistance fighter. During the Warsaw Rising he meets Natalia, a covert operative who has lost everything—just as he has.

Amid the Allied power struggle left by Germany’s defeat, Adam and Natalia join in a desperate hunt for the 1940 Soviet order authorizing the murders of 20,000 Polish army officers and civilians. If they can find the Katyn Order before the Russians do, they just might change the fate of Poland.

Caught up in the vortex of cataclysmic events, Adam and Natalia struggle to survive, fighting for freedom and clinging to an uncertain future in a world gone mad. The Katyn Order is a story of intrigue and danger, of human courage under extraordinary circumstances, a story of love and a quest for redemption.

Purchase your copy of THE KATYN ORDER here.