Excerpt: The Stars of Heaven

The paperback of The Stars of Heaven has finally made past production delays (thanks, 2020…) and is available for purchase! To celebrate, today’s blog is an excerpt from Chapter One. I hope you enjoy!

Glancing at the parishioners spilling out the door of Nossa Senhora dos Mártires into the square in front of the basilica, Cecília was left with the sinking feeling that it was getting far closer to ten than she’d originally estimated. Even if she had convinced Tio Aloisio to come to the Baixa with her, they would have had no chance to make it to São Vincente in time for High Mass. All she could hope was that no one had noticed she’d gone, and the entire morning would be one more thing she would have to privately confess at the Palmeiro’s. 

She slowed them to a stop just outside the square by another niche—one holding a thick wooden crucifix—and pointed east. “Rua Nova dos Mercadores is that way, if you’d like to part ways here.” 

“I’m more than happy to walk you the rest of the way home, Senhorita Durante.”

Because after everything, she needed someone from her bairro seeing her wandering about alone with an Englishman. “With the crowds, I imagine that would make you late for your meeting.” 

A conflicted expression moved over Mr. Bates’s face as he scanned the crowd for himself, no doubt seeing she was right. 

She saved him the trouble of having to weigh whatever duty he felt to her and however important he considered his meeting. “I’ve lived in Lisbon my entire life, Mr. Bates. I’m certain I’ll be able to make it home without your assistance.” 

Mr. Bates began to give one more halfhearted objection before a low rumble moving through the ground made him trail off. Cecília frowned, looking for an approaching coach, though from the way the sound was growing, it would have had to have been a line of coaches barreling toward them. 

“What’s that?” Mr. Bates followed Cecília’s gaze. 

Cecília shook her head, not having any better idea than Mr. Bates. The rumbling grew stronger, making loose pebbles rattle around her feet as the sound neared a roar. 

Earthquake. The thought registered a second too late as the street under her rolled. Cecília tipped forward as shouts went up, mixing with discordant clanging church bells. She put her hand out to brace herself, but the ground lurched again. Her shoulder slammed into the curve of the niche then bucked the other way. She hit cobblestone hard. 

The wall of the building across from her split, chunks of white plaster raining down across the street. Rough brick showed through as the ground continued its assault. Then the brick started to tilt. Eyes widening, Cecília curled into herself, everything happening too quickly to make sense. The wall fell. Hard chunks pelted her as it kicked up a cloud of dust so thick that she had no choice but to close her eyes. 

Slowly, the shaking slowed, and the roar was replaced by a cacophony of the most horrible sounds Cecília had ever heard—screaming, crying, panicked whinnies of horses. Cecília’s body seized. She tried to unfurl, but her muscles wouldn’t release. Shock kept her curled, eyes squeezed shut as though everything would stop if she didn’t look, as though she would wake up in her bed, the morning a dream. A new roar rose over the screams a second before the rumbling returned. Crying, she dropped her forehead to the ground, mumbling some prayer for mercy as Hell rose up around her. “Misericorda. Misericorda de Deus.” 

There was more screaming, more crashing, a loud snap, and pain shooting across her back. Somewhere, her mind registered that something hard had landed on top of her. She choked on dust as she gasped, trying to suck in what air she could under the crushing weight. Time began to blur. Nothing existed beyond the roar and rocking and pain. 

The ground slowly stilled once again—after how long, Cecília couldn’t begin to imagine—but she still couldn’t breathe. She struggled to reach whatever had pinned her. One hand touched smooth wood—the crucifix from the niche. She pushed, but it wouldn’t shift. Something had to have been on top of it, pressing into the cross as it pressed into her. Her sight began to blur, her chest not able to expand enough to take in air. As hard as she fought to remain conscious, her mind turned fuzzy. 

The third roar barely registered until the crucifix shook loose. Cecília gasped. She ended up coughing, thick dust coating her throat. No longer completely pinned, she still had to fight to free herself. Rough bricks scraped her palms, but they shifted as the shaking stopped, letting Cecília inch her way forward. She could find her way out, if she just kept moving… 

Reaching out once more, her hand hit nothing. She froze, the sensation not making sense until she realized she had reached open air. The day had simply turned pitch black.

 And the Lord said unto Moses, Stretch out thine hand toward Heaven, that there may be darkness over the land of Egypt, even darkness which may be felt. The words floated through Cecília’s mind, and she crossed herself before she realized how much pain the movement caused. She couldn’t bring herself to rise from her knees. God had thrown her and the whole city down into the earth. There was no other explanation.

 Slowly, some light began to filter through the haze in the air, and Cecília’s eyes struggled to adjust. The sight was worse than the darkness. Bodies poked through piles of stone—men with their heads dashed open, mangled limbs reaching out as if trying to free themselves even without the bodies to which they had once been attached. Others were still alive, and some cried for help, some already fleeing over the rubble. They weren’t in Hell. But Lisbon seemed worse.

Buy The Stars of Heaven today in ebook or paperback:

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7 Things You Never Learned (about the Great Lisbon Earthquake)

After six years of work researching, writing, and editing, my first purely historical fiction novel, The Stars of Heaven, has finally reached release day! One thing that had long kept me in the “historical fantasy” sphere (beyond the fact that magic is fun!) was I was always a bit intimidated by the amount of research that goes into true historical fiction novels. And The Stars of Heaven was its own level of research hell since, like the bulk of Americans I’ve met, I had never even heard of the 1755 Lisbon Earthquake before learning of its existence in a rather unlikely source–an Assassin’s Creed game. After falling down a research hole trying to find out what this disaster was, I found what might be one of the most important events of the Western world that no one outside of Portugal (who hasn’t read Voltaire’s Candide) seems to know about.

So, for those of you out there who, like me, had never heard of this disaster. Here are seven of the most interesting fact I learned while in that research quagmire:

1. It was more than “just” an earthquake.

While the earthquake was the primary disaster (with an epicenter likely somewhere off the Portuguese coast under the Atlantic and large enough to have reports of feeling it in New England papers–estimated to be an 8.4 on the modern Richter scale) Lisbon really couldn’t catch a break. Rather than a quick rumble passing through, there were three distinct waves of shaking, each reportedly lasting for several minutes. Contemporary accounts disagree on exact timing (I imagine you aren’t busy looking at your pocket watch in the middle of trying not to die) but it is generally agreed that the shaking alone lasted at least ten minutes. As the quake also happened on a holiday (All Saints’ Day) in very Catholic Portugal, it also managed to knock over a ton of votive candles and start fires all over the city. As Lisbon is built at the center of a number of tall hills, this created a fire bowl that ripped through what buildings weren’t destroyed.

Ancient map Lisbon

Since that obviously wasn’t enough though, as often happens with earthquakes under water, the quake then sparked off tsunamis–three of them, one for each wave of the quake–that hit the city and washed out most of the Lisbon waterfront (including the king’s Riverside Palace and Naval Shipyard). When all was said and done, there was practically nothing left of downtown Lisbon (known as the Baixa).

2. An estimated 50,000 died and 100,000 were left homeless.

With the success of Portugal’s overseas colonies (most notably Brazil) in the eighteenth century, Lisbon was a thriving trading port, housing an estimated 10% of Portugal’s total population (approx. 250,000 people). As it was a holiday, many from the surrounding countryside had come to the city to attend High Mass and other festivities, making the already crowded city packed. This led to an estimated 50,000 deaths over the course of the quakes, fires, and tsunamis, and another 100,000 people left homeless.

Period copper engraving showing the destruction of Lisbon

3. It was the first “modern” disaster with major international aid.

While the Great Lisbon Earthquake was far from the first major natural disaster, it was the first in a major European city after trade had interwoven the major powers so closely (as a port city, Lisbon had a sizable expat community, including traders from across the globe). News of the destruction shocked the world, and many countries immediately sent aid to help the struggling lisboetas (and evacuate any of their own citizens who wished to leave). As this was the eighteenth century, “immediately” often did mean several months between the news reaching somewhere and then ships making it back, but it still was perhaps the first example of the outpouring of international aid we still see following major disasters.

4. It included one of the first scientific seismic studies.

While many did believe the earthquake had been sent by God to punish, those interested in the “modern” methods brought by the European Age of Enlightenment wanted to find a scientific explanation for what happened. This included interviewing those willing to give first-person accounts and sending out surveys asking questions such as “When did you first feel the shaking” (trying to track how the quake moved) and “Did you notice any signs before the shaking started” (such as animals acting strangely or wells running low). It was hoped that being able to understand any patterns would allow them to predict future quakes, or at least “earthquake proof” new buildings.

Astrolabe, 18th century
“Astrolabe, 18th century” by austinevan

5. Soldiers marching was used to test earthquake-proof designs.

Paired with the survey, following the quake, architects worked for years to try to build structures that were “earthquake proof” including using different types of latticework to support stone buildings and have the masonry fall out to the street rather than on anyone in the building. To test the different models created (as they couldn’t call up another small quake or use a modern earthquake simulator) they came up with the ingenious solution of having soldiers march in circles around the models to make the ground shake. This allowed them to pick the strongest framing designs.

6. It (more or less) ended the Portuguese Inquisition.

Perhaps less well known than its Spanish cousin, there was also a Holy Office of the Inquisition in Portugal that ran well into the eighteenth century.

The Spanish Inquisition - Monty Python
No one expects the Spanish, er, I mean Portuguese Inquisition! http://people.csail.mit.edu/paulfitz/spanish/t3.html

While the quake did lead many to double down on their faith, it also put the Church in direct conflict with the scientific methods being used to study the quake (hey, look, that’s what my book’s about… fancy that…) While it was a slow process, the quake more or less was the beginning of the end of the Portuguese Inquisition. Other progressive legislation tied (either directly or indirectly) to the earthquake includes the founding of public schools in Portugal, “modernization” of college curricula (moving away from classic Latin studies), abolition of slavery in Portugal (though unfortunately not its colonies–sorry, Brazil), and opening positions once only allowed to be held by nobility to anyone qualified.

7. It permanently scarred the king (mentally).

While the reigning king, Dom José (Joseph I of Portugal), and his family escaped the quake physically intact (they were spending the holiday in Belém–now a part of Lisbon–which was located on stronger bedrock to the west and not as hard hit as the Baixa) mentally, the king never recovered. Suffering from what most likely would now be called PTSD, he refused to step foot inside masonry again for the rest of his life, going so far as to commission what came to be known as the Real Barraca (literally the “royal shack” or “royal tent”) a grand single-story palace built entirely of wood.

https://fontesechafarizes.files.wordpress.com/

By all accounts, it was an impressive structure filled with tapestries and other luxuries to make it more “royal” than “shack” located on the site of modern-day Ajuda National Palace. Unfortunately, as wooden structures are wont to do, it caught fire and burned down in 1794.

Overall, it is a fascinating time that really deserves more attention than it’s currently given. For those interested in the actual history, I highly recommend This Gulf of Fire: the destruction of Lisbon or apocalypse in the age of science and reason by Mark Molesky (my primary source while writing) or The Last Day: Wrath, Ruin, and Reason in the Great Lisbon Earthquake of 1755 by Nicholas Shrady. And for those interested in a fictionalized account of the quake and years following it, pick up The Stars of Heaven, available at all major online retailers.

Amazon: https://www.amazon.com/gp/product/B08CHNS816/

Barnes and Noble: https://www.barnesandnoble.com/w/the-stars-of-heaven-jessica-dall/1137445552

What Should We Call Me?

After many months and more rounds of edits than probably healthy, cover reveal day is finally here for my forthcoming fantasy novel Off Book. A rather meta-humor story (where the characters in it are well aware that they’re characters in a book) I think the title suits it.

off-book-V2

Of course… that wasn’t always the title. Just like the several edits the overall story went through between initial writing and now, the book’s title has gone through no less than four iterations (after being discussed in multiple marketing meeting). And so it seemed to be the perfect day to discuss just what makes a good title.

1. Don’t feel like you need a title right away.

Some authors come up with their titles before ever putting pen to paper, some are still looking for a good one as they get a query ready to send. Personally, I find coming up with titles feels more difficult than actually writing a full novel half the time and so I often have “working titles” while writing a book that will likely change three or four times before I’ve reached “the end” There is absolutely no problem with not having a title while you’re working on a book. Just make sure that you can always find your file if you work on a computer by having a “working title” that is distinct enough (for example, title it after your main character rather than just “Story” or “Untitled”)

2. Look for strong themes

Either while planning (if you like to title before writing a book), writing (if you like to title while in process), or editing (if you like to title after) keep an eye out for strong themes you could build a title around. Is your character dealing with a certain emotion? Look for words that embody that. Does your character have a distinct name? Try to figure out if there is a way use that (one of the early titles of Off Book was Ashes to Ashes because of the character’s last name, for example, though more on that later). Once you have some focus, it will become easier to narrow down title options.

3. Consider if this is part of a series.

If you are writing a series, take into consideration if there are any title patterns you will want to use. Many series try to use similar sounds for their books. For example George R. R. Martin’s A Song of Ice and Fire Series (A Game of Thrones, A Clash of Kings, A Storm of Swords…), Traci Borum’s Chilton Crosse Series (Painting the Moon, Finding the Rainbow…), or even my own Broken Line Series (The Copper Witch, The Porcelain Child, The Paper Masque) Each book has a unique title, but follows the same pattern (A ____ of ____. ___ing the ____. The ____ ____) If you are coming up with the title for a later book of a series, try to find a way to tie it to the previous books. If you are titling the first book of a series, try to come up with something that will allow for similar follow-up titles.

4. Do some market research.

This is where things can get a little bit trickier, for while titles can be just as creative as the books inside the cover, titles are largely about marketing. You want to find something that catches the reader’s eye, fits the feel/genre of the book, and (where many people get tripped up) doesn’t get lost in search results. It is not possible to copyright a title so just because someone has used a certain title before doesn’t mean you can’t. Just because you can, however, doesn’t mean you should. While one of my working titles was Ashes to Ashes, going with that would have likely been a bit of a marketing nightmare. Enough books (and TV shows) have used that title that it was likely my book would get lost far down the search results. Another possibility (Between the Lines) while considered ended up bringing up a number of Romance novels when researched. You don’t necessarily need to go for entirely unique, but you don’t likely want to end up with your book being the 5000th of the same name or immediately assumed to be a different genre than it is because you pick a name associated with a number of [other genre] books. A quick search at the Amazon Kindle Store or otherwise online will help you get an idea if you are on the right track with what you’ve come up with so far.

5. Let your publisher help you.

If you are self publishing, it is up to you to come up with something you can market well, but if you are working with a traditional publisher, listen to their marketing team. You can fight for a title you’ve come up with if you want, but publishers generally have a good reason for asking for title changes (most often having to do with how they intend to market your book) so being willing to work with them will help you down the road. Always consider a title a “working title” until your book hits the shelf.

Off Book: Coming soon from REUTS Publications. Read more about it here, request to be part of the blog tour here, or find it on Goodreads

Twenty-year-old Eloise has learned all she can from the School, where characters live until joining their novels. No one knows genre and plot structure better than her, but despite her knowledge, she’s yet to be assigned to her own story. All her friends are off starting their lives with their authors—and if Eloise doesn’t get assigned soon, she’ll fade away, forgotten by all.

When she is suddenly offered a job at the Recording Office, she takes the chance to write her own future. Suddenly living among the post-storied, Eloise meets Barnaby Fitzwilliam, a former romance novel hero who hasn’t lost any of his in-story charm. But just as their relationship begins to get serious, everything Eloise has been taught gets turned upside down when she’s sucked into a novel she was never meant to be part of.

Now, caught where the only rules are made by the authors and truly anything is possible, Eloise must find her way back home—or else her life might end before she ever gets the chance to live it.

Set in a world dictated by Authors, OFF BOOK explores the story beneath the stories we all know and love, taking readers and characters alike on an adventure just waiting to be written.

off-book-V2

Where to Start

Happy Halloween, or as it’s known around my house, Happy “Oh god, it’s the day before NaNoWriMo…” Day

For those who don’t know (and possibly have never visited this blog before) NaNoWriMo stands for “National Novel Writing Month” and is a time when writers of all levels come together to try to write 50,000 words in the month of November.

It can be a contested (sometimes loathed) event amongst those in the publishing world (mostly having to do with authors submitting unedited, literally “written in a month” books to agents or publishers December 1st) but for those who use it as motivation, it is a great program. After all, even if you only end up writing 1,000 words over the entire month, it’s 1,000 words you didn’t have in October. NaNoWriMo serves to be the kick in the pants some of us need to put our butts in a chair and start writing.

And, as long as you edit, it’s entirely possible to end up with good stories.

TBC         

All of the above, and my newest fantasy novel contracted with Red Adept Publishing, were partially (or entirely) written during NaNoWriMo.

Of course, with kickoff just around the corner, I have seen many authors asking how or where they’re supposed to start their novels. And it’s understandable. It tends to be much easier to write when you’re already in the flow of things rather than when you’re staring at a blank page.

Short answer: Start writing with whatever scene comes to you. Yes, openings are very important when it comes to publishing (if you don’t catch an agent/publisher/reader within the first 1000 words or so, your odds of them contracting you drastically drops) but as long as you do go back and edit (several times) before sending a manuscript off, it doesn’t matter. Many people end up cutting their first scene or two once they’ve written the full book because they realize they came in too early. Others end up adding a few scenes because they came in too late. It is actually often times easier to see where you need to start after you’ve ended. As long as you start getting words down on the page, it doesn’t matter what your opening sentence, paragraph, or even scene is.

Long answer: For those who want a little more advice when it comes to picking an opening scene, look to your plot structure. While you will tend to have some exposition at the beginning of novels, you generally want to start as close to the inciting incident as possible. You picked the story you are writing for a reason–hopefully because you find it interesting. Don’t waste time with scenes that aren’t involved in the story you want to tell. So, if your story follows a cop chasing a serial killer, it is perfectly fine to start with your characters finding the first body rather than with your cop waking up and going to work one day. Or even your cop going through the police academy, meeting his/her partner, being promoted to detective, and whatever else happened before your story actually starts. As an author, you will always know more about your character’s background than your reader will likely need to know. If it helps you in your rough draft to info dump some of that backstory right at the beginning of your novel, feel free to. You will just generally find the story flows better once you get rid of that come editing time.

But, hey, that’s what editing is for. Don’t stress it.

And… Scene.

Today’s question: “For awhile now I’ve had so much problems in ending scenes. I’m stuck on one particular scene in one chapter for a week before I move on to another scene and the same thing happens over and over again. What I like to ask is how do you know when to end the scene? How do your own scenes work out?”

Working as both a creative writing teacher and an editor, I have seen my share of first novels. Having seen so many, I can safely say first novels run the gauntlet from awe-inspiring to a little cringe-worthy (like my first novel was…), but no matter the inherent skill level, scenes often cause authors problems. How to start one, how to end one, it can be a bit of a headache.

Because starting and ending suddenly can feel unnatural, many beginning writers start scenes with a character waking up and end with them falling asleep. Besides being an easy way for critics to point out “new” writers (or at least ones that haven’t mastered that aspect of writing yet), the problem with this method is that you either end up with a lot of “filler” (things that happen that aren’t important) or something like this:

“I never want to speak to you again!” John yelled slamming the door in Sam’s face.

Really upset, John stormed upstairs, sitting on his bed as he tried to forget everything that had happened. When that didn’t work, he finally took a shower. Coming out ten minutes later, he was finally calm enough to sleep. He crawled into bed and turned off the light, closing his eyes.

While not bad for something like NaNoWriMo where you’re trying to up your word count, paragraphs like that are not especially engaging to read, meaning it can slow the pacing of the story at best, and lose you readers/get you slammed in reviews at worse.

So, if starting and stopping at the natural points of waking up and falling asleep are out, how exactly do you structure a scene?

Remember one cardinal rule: Start when the action starts. End when the action ends.

As far as prose goes, novels are the longest common form. Where short stories tend to clock in under 10,000 words, novels are often ten times that (if not even longer, like some epics). That does not, however, mean that there should be filler. Every scene in a novel should serve a purpose, be it introducing an important concept, serving as character building, or advancing the plot. If there is any scene (or any part of a scene) that doesn’t serve a purpose, it’s something that should likely be cut on the editing floor.

This includes summaries of unimportant things that happen between the actual action of a scene and some arbitrary cut off (the character going to sleep, class ending, etc.) There is absolutely no reason in the above example that you can’t end with John slamming the door. If something important happens afterward, you certainly don’t have to, but in the above example, all John does is sit, shower, and then go to bed. Not exciting to read, not character building, and certainly not advancing the plot, there is no reason to have it there.

But what if there’s a large chunk of time that’s going to pass between action? How will the reader know that things aren’t happening right in a row if you don’t explain time is passing?

Simple, you throw in a single line that time has passed at the beginning of the next scene.

For example, in my new novella, The Copper Rebelliontwo days pass between the end of chapter six and the start of chapter seven. Chapter Six ends as soon as the action is done (in this case, the character figuring something out with the ending line, “And that wasn’t good”). Chapter Seven starts:

“Adela took a deep breath, steeling her resolve. She’d let it sit two more days. And that was two days too long” 

That’s it. No summary of what had happened the past two days. No filler. With the second and third sentence, the reader knows that it has been two days since the last scene and can assume that nothing important happened those days (at least not to the story). Especially in a novella there’s no reason to waste space with “She sat around one day. Went out riding. Had dinner, etc. etc.” either as filler scenes or as a paragraph telling the reader these things have happened before the start of the important information, but even in a novel, the same holds true.

Similarly, if your characters are driving somewhere because they start in A and the story is actually in B–and nothing interesting happens on the way/nothing that is important to the plot–it is perfectly okay to have something like:

“Let’s go!” Jane threw the car in gear, pulling out of the driveway.

***

The New York Skyline came into view, Jane nearly ready to cry with joy. A week in the car with John and Miranda would be enough to make the Dali Lama snap.

Again, a week has passed. The characters have made it from their house to New York. The reader can assume they haven’t missed anything important by not seeing miles of road tick by or having a summary about how nothing, in fact, has happened.

As with everything else in writing, figuring out the perfect place to start and end scenes is something that becomes simpler with practice. But by approaching each scene looking for what’s important–figuring out where the action is–it becomes much simpler.

Write, Edit, Publish: The Best of The Jessica Dall Blog

June 17th is here once again, and that means one thing. It’s my birthday. And to celebrate, I have a gift for all you readers out there:

WEP

Write, Edit, Publish includes some of this site’s most popular blog posts compiled into a downloadable eBook, covering everything from staring with a blank page to working on getting a manuscript published.

Download for FREE right here: Write, Edit, Publish [PDF]

Or FREE on Smashwords: Write, Edit, Publish

(Soon available on Amazon and Barnes and Noble)

 

Write, Edit, Publish articles include:

Section One: Writing

Getting Started

Writing Prompts

Finding Time to Write

Writing through Writer’s Block

Inner Filters

Character Naming

What’s in a Name?

Historical Naming

Who are you, again?

Plotting

From Premise to Plot

“Accidental Plagiarism”

[X] Types of Plot

Characterization

Making Your Characters Believable

Character Flaws

“Plot Device” Disorders

Just a Pretty Face

Dialogue

You Don’t Say

Floating Dialogue

Narrative

Writing Shakespeare

Head Jumping

 

Section Two: Editing

Editing 101

Plot and Plot Holes

The Ever-Dreaded Plot Holes

A Wizard Did It

That’s Just…Wrong

Language

The Problem with Pronouns

The Unneeded Words

All of a sudden, he was suddenly there

Critique Groups

How to Take a Critique

Crises of Confidence

The Nitty-Gritty

Does Length Matter?

Eh, it’s not my style

“Intensive Purpose”

 

Section Three: Publishing

Self, Vanity, Traditional Publishing

Shoot the Shaggy Dog

Submissions

How to Get Published

Submissions 101

Wishlists and Trends

Word Counts

Word Limits

Copyrights and Contracts

Contracts

Novel Blogs

Toe Tappin’ Copyrights

Layout

Novel Layout Tips

Historical Naming

Interesting question today: “When writing historical fiction, do you have a hard time coming up with names? Is there a list of when particular personal names were first used? I have written some fiction that is historical and I’m worried the use of a name or names that were unknown in that period might put some people off because of the inaccuracy.

I have written before about how names can be astoundingly important to how both authors and readers respond to characters in stories. It makes complete sense that having a “Neveah” and “McKenzie” wandering around Elizabethan England would be a problem.

Luckily writers have a few resources for looking for “historically accurate” names:

1. BehindtheName.com: One of my favorite sites for finding names in general, behindthename.com (and its sister site surnames.behindthename.com) is a great resource when trying to find appropriate names for historical characters. With popularity lists reaching back to 1880 (with John and Mary topping the charts), you can very easily find names that would suit a story based in the Victorian era forward (it even lists just how popular the names were at the time: 8.15% of boys born were named John and 7.24% of girls named Mary, for example).

behindthename.com

behindthename.com

For earlier names, you have to do a little more digging, but by looking up specific names you can find out about the history of a name, including first origin, famous bearers, and popularity charts (see above). For example, for ‘Mary’ you’ll find:

In England [Mary] has been used since the 12th century, and it has been among the most common feminine names since the 16th century.

For a name like ‘Jessica’, however, you’ll find:

This name was first used in this form by Shakespeare in his play ‘The Merchant of Venice’ (1596), where it belongs to the daughter of Shylock … It was not commonly used as a given name until the middle of the 20th century.

So where you would be more than safe naming a character “Mary” in the middle of the War of the Roses, “Jessica” is probably better suited for a character born in the 1980s or 1990s (#1 or #2 for most popular name from 1981 – 1997).

2. Historical Figures: If you are writing historical fiction you have most likely (hopefully) done some research into the time period. While doing that sort of reading, you have likely come across people who were important to the time period. For example, following the Elizabethan/Tudor example, you might see Henry VIII, Elizabeth I, Mary I, Edward VI, Katherine Parr, Catherine of Aragon, Anne Boleyn, Jane Seymour, William Shakespeare, Thomas Moore, Walter Raleigh…and the list goes on and on and on. It is therefore reasonable to assume that you are “time period appropriate” using any of those given names in the time period.

Edward VI--meaning there had already been six other kings with his name by the 1500s.

Edward VI–meaning there had already been five other kings with his name by the 1500s.

If you are interested in genealogy/have done any family research, it is also possible to use your own family tree for inspiration. If you have an ancestor named “Samuel” who fought in the Civil War, you’re likely safe making your 1860’s character’s name ‘Samuel’.

3. Historical Records: Assuming you are writing about a time period that includes a written language/has some “primary source” documents surviving, you are likely to be able to find names off censuses/tax rolls/etc. The more “modern” the time period, the simpler it will be to find these sorts of records (for example, the U.S. Census Bureau released the 1940 Census records in 2012 for interested parties), but it is possible to find things like the 1319 London Subsidy Roll online which will provide you with names such as Johannes (“John”) and Thomas which were both highly popular in London at the time.

1850s Census with names galore (assuming you can read cursive)

1850s Census with names galore (assuming you can read cursive)

(Note: Sources I have easily found online do tend to be highly euro-centric, but as long as you are writing about a “record-keeping” society you should be able to find something [i.e. it will be easier to find records from England or China than it will from nomadic groups]).

4. Figure out naming conventions: This is another one your previous research will aid in, but if you are looking for names on Behind the Name (or another similar site) this should help point you in the right direction. It’s just about following trends. For example, naming oneself after royalty/the ruling class has always been popular, thus you will find more children born after the Norman Conquest with French-based names (from watching how many King Henrys and Charleses there are in both England and France early on, you can see the name bleed-over). Similarly, Puritans were big fans of “virtue” names (Charity, Mercy, Remembrance…) by picking a virtue name for your fictional character on the Mayflower, your name will fit in without “copying” a famous name.

(Note: It is also important to pay attention to naming conventions when it comes to things such as surnames and name order. Would your characters have patronymic names (Greta Hansdatter, James FitzJames, Phillip son of Coul) a geographic indicator (Joan of Arc, Leonardo da Vinci), their family name first (as it common in many Asian countries), or no second name at all? Those details help with the authenticity of your characters).

As with everything else in historical fiction, research is your friend. As long as you know the time period you’re using, you shouldn’t have a problem coming up with names.

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Editing 101

As I head into edits for Book 2 of The Broken Line Series (The Porcelain Child, for those who are wondering), I have been asked for some editing tips for when you are taking a stab at going through the several thousand words of a rough draft.

Of course, there are no set rules anyone must follow when it comes to editing your own work. Much like writing, it’s about developing a style that works for you. To help take the first steps, however, I have included the “standard” advice I have heard when it comes to editing and my own thoughts on each.

1. Take a break after you have written it. Whether it’s a day or Stephen King’s suggested six weeks, the first piece of advice most writers hear when it comes to thinking of editing. In my own opinion, this isn’t bad advice, if you start right into editing the moment you write “the end” you will likely still be in writing mode and miss a lot of problems you might otherwise. Of course, if there are still large portions of the story you know you will have to rewrite, taking yourself out of this mindset might be detrimental.

Verdict: If you are ready for straight editing, take a break. Possibly even work on another project that will take your mind off things. If you need large swaths of rewrites/changes, go ahead and start right away. (Personal caveat–if you are writing a series and have a publisher waiting for books 2 and 3, it’s probably best to go right into edits so you can send that off before they yell at you…)

2. Just do a read through. After you have taken a break, the most common advice I’ve heard is to read through the manuscript without making any changes. While this is good if you need to put yourself in another mindset (if you need “editor” brain, rather than “writer” brain) I have never personally followed this advice. I never make big changes on the first read through (unless I was already rewriting a section, as mentioned in Step 1) but reworking wording here and there to fix problems will not make or break how you edit.

Verdict: It is a good idea not to start making sweeping changes on your first go through (otherwise you might find yourself causing more problems than you fix) but, unless you need “editor” brain to work, you can feel free to make changes as you go along on your first read through.

3. Don’t sweat the small stuff. Yes, grammar is important, but it is not the most important thing at the beginning stages of editing. If you realize after your first read through that a character simply isn’t working or there’s a plot hole that needs to be taken care of, deal with that before you work on the exact wording for one sentence and worry about if you should have subjunctive tense or not in another. If you end up reworking entire scenes, you’ll likely find new typos popping up anyway. Don’t worry about those until the big pieces have all fallen into place.

Verdict: Definitely good advice for an early go through. There’s a reason copy edits always come after content edits when working with a publisher. Grammar and spelling are important, but not until everything else is taken care of.

Note, “big pieces” generally include:

  • Plot holes
  • Characterization problems
  • Info dumps rather than interwoven back story
  • Inconsistent tone
  • Unnecessary/repetitive scenes
  • Missing scenes

Along with anything that will perhaps require substantial rewrites and/or added/deleted text.

4. Read it Out Loud. Once you’ve gotten the big things ironed out, one of the best ways to hear if a sentence is off is to read it out loud. I find this especially helps people who have trouble with dialogue. Dialogue is about capturing how people speak, so if seems stiff to say aloud, it’s probably too stiff for the page.

Verdict: If you are still developing your voice as a writer, or have a specific problem with clunky sentences/dialogue, reading aloud is a great way of fixing that. If you are more seasoned/can “hear” how it sounds in your head, it isn’t as necessary, though it can still be helpful.

5. Read it Backwards. Having moved on from the large problems, reading backwards is what I have often heard suggested for catching typos. Not caught up in the story, you are more likely to see that that “the” was supposed to be “they”. Since half of grammar to me is being able to pause over what doesn’t sound correct in a sentence, personally, I don’t find this as helpful a step as others, but the idea holds: Find some way to take yourself away from the story and focus on the words themselves.

Verdict: While the principle holds true, this might be more helpful in finding spelling mistakes than grammar if you “write by ear” like I do. (Personal note, I prefer running my stories through a text-to-speech program. While may miss a typo, since I know what I meant to say in a sentence, hearing a mechanical voice say “The walked down…” will let you catch the/they just as easily [if not more so] than reading backwards).

Once you have gone through a story this far (and are perhaps sick of reading it over and over again) it’s time to call in the beta readers–which means you’re done, until you get all their notes back and have to edit to fix those.

But that’s a post for another time.

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Layout Templates

Happy New Year’s Eve to everyone (and apologies for the late post this week). Recently I was asked about book and manuscript formatting. While I previously posted some Layout Tips to make your book look more professional when laying out your text yourself, I thought I would now offer a template as a late holiday present.

As a winner’s gift, Createspace offers NaNoWriMo winners a code for free copies of their book when uploaded to Createspace. While I don’t intend to self-publish my NaNo novel (especially not while it’s still a rough draft) I thought it would be fun to at least see what it looked like in book form for now. Thus, not wanting to spend too much time on it, I changed the story format from manuscript to book format. For anyone who is likewise intending to turn their manuscript into a book, I present you with the template I created:

Book Layout [.docx]Book Layout

While (if you’re intending on full self-publishing at professional quality) this template no way replaces what a professional might do, it is a good start for beginners, including all the headers and section breaks you need to upload a word document to a self-publishing platform as a book.

For those who are looking to submit their manuscripts to agents or publishers (after editing, please, please, please) here is my general manuscript formatting (check each agent’s/publisher’s guidelines before submitting, in case they ask for something specific, but a good all-around format to look professional when submitting):

Manuscript Layout [.docx]Manuscript Layout

If anyone has problems downloading the files, please contact me and I’ll be happy to help.

Happy Holidays!