It’s About Time!… Or is it?

“You don’t look like the rest,” Clare said, her eyes traveling over the scars on my skin.

“I was a warrior,” I told her. “But I can tell you’re not from any clan at all.”

She lowered her eyes and glanced at her sister briefly. “It’s true,” she admitted. “We did not come from these parts.”

I knew it. “Then where did you come from?”

She looked uncomfortable for a moment, then bent her knees in a strange gesture royal folk call a curtsy. “My name is Clare; how do you do?”

“I’m all right,” I answered, struggling with surprise. It was rather uncommon that someone should take interest in my personal well-being.

“This is my sister, Runa.”

I sensed it was my turn to say something about myself, but I never had to, because at that moment I heard someone calling me from outside in a most foreboding tone.

The Exile, p. 3

Part of the reason I knew Delta had to narrate The Exile was because hers was the voice I could hear most clearly—her tones, attitudes, and editorials all demanded expression. Not only that, but it seemed a large part of the story’s substance hinged on her commentary and interpretation of other characters and events. That being said, however, the main challenge of writing in her voice became apparent:

How would she have sounded in her time period?

The thing is, it’s not hard to identify a character’s voice as formal or informal. What is hard is knowing how to give a historical character a colloquial voice. This is especially true when little is known about the culture’s dialect.

I did my share of research regarding early medieval life and Scandinavian clans—so while the names of characters, clans, and places are fictional, their descriptions and hierarchies adhere closely to the historical reality. But when it comes to the actual languages, finding a way to make medieval Scandinavian vernacular sound laid-back and familiar would take a kind of linguistic wizardry I’m not sure exists. So the question becomes, “How do you strike a balance between sounding simultaneously historical and relatable?”

Some writers lean more modern than others, going so far as to insert a number of anachronisms or phrases that, while you’d never hear them in the story’s time period, make the characters and scenarios feel less foreign to us contemporary folk.

A prime example is Daisy Goodwin’s TV series “Victoria.” Although the costumes and accents are pretty convincing, I had to laugh when one of the dukes added, “Just saying” at the end of an otherwise elevated conversation. While most of the dialogue doesn’t drip so heavily with modern lingo, it’s still obvious that Goodwin gives her characters some current turns of phrase to make them more accessible.

But the question of balance still stands.

Because, although some modern phraseology can lower the barrier between character and reader, it can also polarize those who want to see more historical accuracy. Because of the challenges surrounding The Exile’s setting (and because Delta’s relatability was so central), I chose to err on the more modern side—something not everyone would agree with.

So how does a writer find the balance? Are there ways to make a character’s voice colloquial without compromising the historical integrity?

What are some other works (books, movies, or shows) that achieve this balance? Which ones miss the mark?

And of course, if you have read/are reading The Exile, please let me know what you think about this particular aspect of the novel.

Did the voices work for you? Why or why not?

Says Who?

Her name was Clare. She came on a dark day when my body was still sore from its latest beating two nights ago. They brought her into camp with her sister, both of them quiet and skittish.

When I first saw her I could tell by her countenance that she was different. She carried herself in a dignified fashion, holding herself upright, but not so tall as to flaunt—not like the women of my clan. But I wasn’t with my clan when she came to me. I was with the Falkers.

As for me, I never bothered with posture or honor. I knew I wasn’t important, so I didn’t try to be.

Oh, I was dirty and base and soiled, but she tried to change me. I suppose I did change a little, if only so she wouldn’t pity me, but not as much as she would have liked. Besides, this was before all that began.

The Exile, p. 1.

I would introduce Delta, but she seems to have done that already.

The truth is, when I first sat down to write The Exile, there was no question as to whose voice would narrate the novel. Even though the majority of the plot arises from Clare’s quest, the story would invariably lose some of its meaning if it were told from her perspective—or rather, the layers of meaning would change.

It’s easy to take a narrative voice for granted in reading someone else’s work.

I think this is something that writers themselves are more likely to appreciate, as the beginning of each new story requires us to make a conscious choice: “Who is going to tell this thing?” It could be one character or several. Or it could be a voice removed from the story itself.

While there isn’t necessarily a right or wrong answer, we can’t deny that the choice of narrator inherently affects the tenor, themes, and even content of the novel. Imagine if a classic like The Adventures of Huckleberry Finn were told by Jim! We would gain all of the perspective of a mature, African American man forced to suppress his own intelligence, but we would lose the naiveté of an otherwise savvy boy coming to see the world for what it is.

What if Fitzgerald chose Daisy, rather than Nick, to narrate The Great Gatsby?

Or what if both Twain and Fitzgerald used an omniscient third-person narrator, giving us unilateral knowledge of each character’s inner thoughts?

The question of narrative perspective isn’t particular to historical fiction, but it does connect to another topic I’ll address next week that every his-fic author has to wrangle. But no matter what genre we read or write, I think exploring the different possible narrative perspectives in a novel can give us insight into why the author chose the one he/she did—which in turn can help us better understand the meaning he/she wanted to communicate.

So I ask you:

What stories can you think of whose substance would change radically if told from another perspective?

If you are a writer, do you find yourself writing more often in the first-person or third-person? How do you decide?

What makes it Timeless?

Meet The Exile

“When the Scandinavian princess Clare finds herself and her sisters sold into slavery to the ruthless clans inhabiting the unsettled mainland, she meets Delta—a hardened slave girl with a history of her own. Although their morals and perspectives clash initially, each recognizes the other as her chance to escape captivity: for Clare, to rescue her beloved sister; for Delta, to return to her own clan.

In their struggle against predators, prejudice, and their own secrets, each woman must question what is worth living for and what, if anything, is worth dying for.”

Here’s a confession:

When I first sat down to write The Exile I didn’t have a particular setting in mind. In fact, only after completing the first two drafts did I settle on Scandinavia as the geographical stage for the novel.

Why was that?

Even prior to writing the first manuscript, it was evident that the characters themselves would constitute the primary energy source that drove the story forward. In that sense, Delta the slave and Clare the princess could have lived in any medieval civilization, provided that it allowed for clan warfare. All other circumstantial elements (political corruption, denigration of women, and a constant struggle for survival) could characterize almost any culture in medieval Europe.

What drew me to Scandinavia was the level of mystery surrounding its past.

Other than the Vikings, not much is commonly known about its history—and unless you’re writing alternate history, it’s precisely those gaps that give you room to create a story. That being said, once I delved into Scandinavian history, it inevitably began to reshape and inform elements of The Exile— and let me add, there is still plenty of room for exploration.

At the heart of this process, though, I realized there lies a central question regarding historical fiction.

What is the relationship between setting and story?

The truth is, some plots/scenarios can be extracted from their original setting and placed in a different time period or culture. Some characters can receive circumstantial facelifts while still preserving the integrity of their voice and personality. I am often struck by how much of a story’s plot could have unfolded in a different context, whereas other stories draw heavily on the historical setting for their content.

Take Victor Hugo’s Les Misérables: while Jean Valjean and Inspector Javert find themselves caught amidst the French Revolution, the game of chase and the core ethical dilemmas that define the story are not inherently tied to the time period.

On the other hand, Esther Forbes’ Johnny Tremain tells the coming-of-age tale of a boy whose perspectives are largely shaped by the ideas surrounding the American Revolution. In that sense, the history is central to the themes of the story.

And yet both Les Misérables and Johnny Tremain manage to transcend their time periods in meaningful ways.

How does this happen?

From the author’s perspective, how do you know whether to choose the setting or to develop the plot first?

On the reader’s side, how can you tell when a plot was tailor-made for a particular setting?

What other stories could have taken place in a different time period? What are some whose plots/characters seem inextricable from their setting?

In any case, it seems this trend should impact our understanding of what it means to be “timeless.”

What? Why?

A Brief Introduction

At this point, you might be wondering two things:

What is the point of this blog?

What’s up with the name?

It’s really quite simple: I tell stories set in the past.

Chances are, if you landed on this site, you are also either a storyteller or a history geek—or better yet, both. Or maybe you’re just an avid reader of folklore, fantasy, or historical fiction. In any case, I’m glad you visited, because there’s a lot to talk about—hence the name.

By now, you’ve derived that the “inkpot” theme comes from past eras…

So why “inquisitive?” There are two sides to that.

One is the main source of my stories: asking of the past, “What might have happened?”

The fact is, no matter how documented and complete our history of a given time period, there will always be things we don’t know. People whose names were forgotten. Events that slipped through the cracks, or were deliberately left off the books. Historical purists find that problematic—I find it exhilarating, because where the known facts end is where the imagination begins.

There is a caveat to this, and it marks the line between fact-finding and storytelling. If a well-informed person reads Philippa Gregory’s The Other Boleyn Girl or watches Randall Wallace’s “Braveheart” expecting a 100% accuracy score, they will be disappointed—and rightfully so. Neither of these works presents itself as an authentic historical account. Instead, both invite the reader and viewer to explore a real time period and ask real questions faced by both real and imagined characters. This is the same adventure I invite my readers to join.

The other half of “inquisitive” is yours to fill in.

Each addition will open with a post related to one of the stories I have published, or genres/time periods I am currently researching—but that is just the beginning. The rest is yours. If you share the same curiosity in the past or in storytelling (either as a reader or an author), then you have something to contribute. Raise questions. Answer questions. Tell us about whatever you’re working on, or whatever fascinating gems you know about a particular era. Come join the adventure!

Shiloh