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.

News & Noteworthy

The News.

Remember my post on Fearless Writing? I talked about taking chances, and not just on that work in progress. I know, I know. I keep bringing it up. But, mantras really work. Our efforts pay off, whether they nudge us in a different direction or shift our perspective ever so slightly or result in something much more concrete.

Suzannah Windsor, of Write It Sideways, is creating a new digital literary journal, COMPOSE. A while back, she sent out a call for editors, and I applied, not knowing if my experience was enough to earn me a spot on the masthead. But, I took the risk anyway. I was thrilled, then, to accept her offer of a position as an editorial assistant. Suzannah is a mother-writer who sets goals and gets them done. She’s a model for the rest of us trying to balance life and motherhood and writing, and I couldn’t be more excited to work with her on this new project. Read more about the full masthead here.

The Noteworthy.

At my day job recently, I heard of a website called Lynda.com. For half a second, I wondered about the site: who was this Lynda? What does she do? Then, I got busy with work again. It wasn’t until I saw a post on Facebook by Lisa Cron about her page on the site that I finally investigated. Lynda.com is an online learning center offering a myriad of courses from art and design to photography and, well, now writing. Lisa Cron, author of Wired for Story, has a new course up and running for those of us wanting to know more about story structure.

I’ve raved about Wired for story before, and I imagine the course follows Lisa’s book somewhat. But, if you’re like me, sometimes reading the book isn’t enough. I want more.

The course isn’t free. Not exactly. But, the cost is certainly doable: $25 gets you a 30-day subscription to lynda.com, which allows you to view Lisa Cron’s course AND any other courses that suit your fancy. Perhaps something on illustrations for a children’s book? One on formatting that ebook? Once you’ve subscribed, they’re all free. Even if you only watch Lisa’s The Craft of Story and cancel your membership after 30 days, that’s still a pretty good deal.

Another author using the internet as a classroom, of sorts, is Lisa Rivero. She’s written a great book for young historians called Oscar’s Gift, about Oscar Micheaux, the first major African-American filmmaker who has history as a homesteader as well. Right now, in honor of Black History Month, she’s posting lots of extras to go with her book: videos, writing prompts, and news about the time period in which Oscar lived. If you write historical fiction, for kids or grown-ups, check out Lisa’s website to see how historical resources can enhance the reading experience.

What’s new or noteworthy with you? And, have you ever visited lynda.com? I’d love to hear from someone who’s taken courses there, it looks so inviting.

 

 

Becky Levine on Research & Finding your Story in the Details

I’ve mentioned before how much I love Becky Levine’s book, The Writing & Critique Group Survival Guide. If you just joined a group, if you’re thinking of starting your own group, or if you’re wondering why the writing group you’re in works (or doesn’t), you should read this book.
Becky Levine’s expertise stretches well beyond writing groups. She’s an editor and freelance writer who also writes picture books and young adult fiction. When she speaks, I pay attention. Not long ago, she posted on Facebook about one of her current projects, a historical fiction, and I asked if she’d be willing to stop by and talk about research for such a project. I’m thrilled and honored she said yes.
Welcome, Becky!
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When Christi asked me if I’d write a guest post about research in historical fiction, my first reaction was pretty much: “But I SO haven’t figured that out yet.” Then I remembered that a lot of my favorite posts are ones where I sort of think things through, so I checked with Christi if that would work. Luckily (?!), she said, “Yes.”

The first thing you should know is that I am a fan of historical fiction that does not cover the page with heavy layers of historical detail. I much prefer books that use as few words as possible and still manage to give me a strong sense of time and place. (For some examples, see Sherrie L. Smith’s Flygirl, Joyce Moyer Hostetter’s Healing Water, and Kathryn Fitzmaurice’s A Diamond in the Desert.) Basically, I want more story than history.

The second thing you should know is that writing a historical-fiction novel that stays light on details does not, as far as I can tell, cut down the amount of research you have to do. Obviously, you can’t know which details are the perfect ones until you’ve found them. Which, on some days, makes me sigh.

Because, honestly, I have a love-hate relationship with research.

I love falling in love with my world. My current WIP is set in 1910ish Chicago, with threads of Hull-House, a possible cameo from Jane Addams, and questions about carving out a life in America as the daughter of immigrants, especially an immigrant mother who lives in constant fear of that world out there. Let me tell you, Chicago at the turn of the last century was an amazing place. If something was happening in America, it was happening in Chicago. And, probably, it was happening at Hull-House. Change was thick in the air, and, yet, when I stand at a distance and look at 1912 and 2012, it seems to me that too little has changed.

Which Way?What’s the hate part? Okay, hate is probably too strong a word. Confusion? Lost-in-the-maze-itis? A strong feeling of Not-in-Kansas, anymore? Research can be a matter of looking for one specific fact that you’re sure you need to know. (Should I tell you how many pages I read trying to figure out whether, if you went to Hull-House, you knocked on the door or just walked in?) It can be a process of reading an entire book about one narrow subject. (Hey, I’ve got a great read for you on how electricity came to Chicago!) It can be trips to the library, browsing through their catalog, tapping your neighbor’s shoulder, and asking them if they can think up another keyword for your search on hospitals in 1910. (Forget cellphones: how did you get hold of an ambulance before there was at least a payphone on every corner?) There are days, truly, that the research is overwhelming.

So why do it? Because you never know what you’re going to find. (That’s the love and the hate part!) I’ve read several books on Hull-House and Jane Addams, and the details I can choose from are plenty. Hopefully I’ll use the right ones. They’re not, however, the most important thing I’ve learned from all that reading. What is? The feeling of the settlement house, the sense of women who really cared; who pushed their own limits to find a job where they could be useful; who made sacrifices so they could surround themselves with like-minded, intelligent, creative thinkers. The sense of a place where, if you did knock on that door, someone was going to open it, draw you inside, put you to work, and give you a home. A better one than the one you’d left behind.

So you turn pages, you browse the Internet, you read letters and diaries, you talk to people at museums. Gradually, piece-by-piece, you come to an understanding of the world you’re writing about. An understanding that I think, I hope, will seep into the pages of your story and create that feeling of a distinct, unique world. Without burying your reader in detail after detail after detail.

Yes, it’s important for me to know the facts about what happens at the Hull-House door. It’s even more important for me, and my reader, to feel the energy and excitement that was going on behind it. And research—whether you love it, hate it, or (most likely) both—is the path to it all.

Becky Levine is a writer living in California’s Santa Cruz mountains. She’s currently working on a young-adult historical novel, as well as her first picture book. Becky is the author of The Writing & Critique Group Survival Guide (Writer’s Digest, 2010) and works part-time as a grant writer for a local art and history museum.

*Blog photo credits: Dru Bloomfield on flickr.com and Cohdra on morgueFile.com