Monday, May 21, 2018
Monday, May 14, 2018
Today, we shine a spotlight on the winning story in our HNSA 2017 Short Story Competition.
Eleanor Limprecht's short story, "The Call of the Stars", was originally written as part of Long Bay, a novel based on the true story of a young woman named Rebecca Sinclair who ended up in Long Bay Women’s Reformatory in 1909 for manslaughter. Rebecca Sinclair was - with her husband Donald Sinclair - performing illegal abortions.
"The Call of the Stars" was originally a chapter in the novel written from a different perspective - one of the other characters whose life was affected by Rebecca and her husband’s actions (we don’t want to give too much away here). Limprecht became fascinated by this character and his profession as a linotype operator for the Sydney Morning Herald. She spent weeks researching linotype machines, which are now obsolete and was a tiny bit devastated when everyone who read Long Bay told her the chapter didn’t fit. Eventually she reworked it into a short story and submitted it to the HNSA short story prize. She was delighted when it won.
"I often write my way into a story, and end up with quite a bit that goes unused," Limprecht explained, 'so this was a rare instance of that unused writing finding a new life elsewhere."
"The Call of Stars" is a tragic, deeply affecting story that brings to light the tension between poverty and unwanted pregnancy and women's lack of choice before reliable contraception. It was recently published in Swinburne University's literary journal Backstory. Here's how it begins...
"He woke at the usual time, before dawn. Andrew closed his eyes again, pulling the coverlet beneath his chin. When he woke the second time he could hear Lucy and the children trying to be quiet in the other room. He sat and stretched, rubbing his eyes, smelling the urine from the chamber pot and the smoke from the woodstove. He stood and opened the window, breathing in the salt air from the harbour and feeling a breeze ruffle his hair." Read more...
Eleanor Limprecht is the author of three novels: The Passengers, Long Bay and What Was Left, which was shortlisted for the 2014 ALS Gold Medal. She also writes short fiction, book reviews and essays for various publications, including Best Australian Stories 2015. When not writing or reading Eleanor teaches as a casual academic at UTS. She was born in the United States and lived many places including Germany and Pakistan. She now lives in Sydney with her husband and two children.
Tuesday, November 14, 2017
Our guest author today is Michael Beashel. Michael is Sydney-born and his Irish forebears immigrated to New South Wales in 1863 and settled in Millers Point. He spent his youth in Bondi, is married with adult children and lives in Sydney’s inner-west.
Michael was head of Asset Development for a global accommodation services company registered on the NYSE and has made his mark in some of Australia’s iconic construction companies. In Sydney, he has restored government buildings such as the Customs House and the Town Hall, and completed commercial buildings in the private sector. In SE Asia, he managed a construction division that built apartments and hotels in Bangkok and Ho Chi Minh City.
This industry—its characters, clients, trades people, designers and bureaucrats—provides rich material for his writing. He has an eye for the emergence of Sydney’s built form, from the early days of the colony to the present, and a love of construction. He says about his writing, ‘It’s a passion. I revel in using the building industry as a tapestry to weave a great tale seasoned with historic facts and memorable characters. Human shelter is an essential need and I suspect people have a fascination for understanding its context and construction within their societies. Australia still is a young country but there are many, many outstanding building stories.’
Michael holds a B. App. Science (Building) from Sydney’s UTS and is a member of the NSW Writers’ Centre. Michael finds his excitement in the design and construction industry, military history and Rugby. He’s sailed in Herons but leaves the racing and honours to other family members! Unbound Justice is his first novel and the sequels Unshackled and Succession complete the Sandstone Trilogy. You can connect with Michael via Facebook, website and blog.
Shelter is the third human need and it’s essential for civilisation to thrive. In genre fiction, the building industry has not been used much as a context although bestsellers like the Pillars of the Earth paint vivid stories and characters against the backdrop of monumental building construction. The intent of my writing is to celebrate the building industry in nineteenth century NSW using where possible historic examples of major works. Architecture of the European period, the Renaissance and early to middle 20th-century America has been given due attention. However the architects of colonial New South Wales, post Greenway, and the contractors who executed their designs are often not given the credence they deserve.
The time period for The Sandstone Trilogy was chosen because it represented a profound change in New South Wales’s history. The first two books date from 1850 to 1857 and highlight the massive expansion of the colony due to the Gold Rush. Wool was certainly adding to the colony’s income but it was the gold that created the explosion.
|Liverpool St facing Hyde Park 1849|
According to JM Freeland in his Architecture in Australia, a History, ‘the newly rich men of means wanting large and substantial warehouses and offices; town councils wanting magnificent city halls befitting their new-found place in the sun; the churches with coffers filled by affluent respectability- seeking parishioners wanting larger and proper Gothic edifices; the publicans wanting imposing palaces in which to milk a sybaritic clientele and tens of thousands of people just wanting a home—all this created a splendiferous boom for the building fraternity.’
The price of labour and the cost of building materials increased exponentially because of the sheer demand for them. Additionally those tradesmen who were less passionate about their chosen careers were happy to join their fellow gold seekers and try their luck. This sudden ‘vacuuming’ of tradesmen from New South Wales, especially Sydney building sites, created demand for less skilled tradesmen and also promotion for others who would not have normally risen to high ranks at such an early age.
|Skinner's Family Hotel, George & Hunter Streets|
It cannot be overemphasised how much the gold rush affected New South Wales and Victoria. JM Freeland says that “Australian architecture left its innocence behind when gold was officially discovered in May 1851. The immediate effect of the turmoil on architecture was negative. Building virtually stopped. It was in these conditions that many of these substantial business firms of today were founded. In the period 1851 to 1860 the population of Australia trebled to 1.2 million people. Victoria from 76,000 to 540,000!”
One of the fascinating sources has been a compilation of drawings done by Joseph Fowles and printed by himself in Harrington Street in 1848. St Patrick’s Church in Charlotte Place (present day Grosvenor Street) was dedicated in March 1844. Between King and Market Streets in Pitt Street stood the Royal Victoria Theatre. “The fronts are bold and lofty faced with fine brick with massive stone dressings and cornices. The spirited proprietor Mr Moffit deserves great credit for the liberality with which he has contributed towards ornamenting the city.”
|Markets and Police Court, George St|
On the social front, one reference written in the era was Mr James Inglis’s account of Sydney and its people. Mr Inglis was a member of the NSW Legislative Assembly in 1885. He wrote a book called, “Our Australian Cousins.” It was in effect an early example of a traveller’s blog.
York Street was the place to live, especially between Sydney Town Hall and Wynyard square. The merchants’ palaces were selling for £30,000 to build.
Shop windows were small and mean. The structure of each shop jutted out into Pitt and George streets. Horses were hitched to posts and the horses were called walers.
The taxi cabs were elegant, light in draft, roomy and comfortable. They were above the average and the horses sleek and well groomed. The taxi driver charged four shillings per hour, nine pence for a quarter of an hour.
Sydney electoral roll “a narrative on the visit to land colonies 1843.”
Present state of Australia 1851 by Melville Henry.
New South Wales, its past and present, 1849 by John Patterson
British Parliamentary papers “Colonies Australia” 1854 Volumes 12 and 17.
Recollections of Sydney 1850, John Mortimer
Impressions of Australia illustrated, Australian magazine Volume 2 1851
London Journal of immigration illustrated 1848
Sydney takes shape, a collection of contemporary maps from foundation to Federation 1977 Paul Ashton and Duncan Waterson
The origins of the Master builders Association of New South Wales, 1873 to 1889
The Evolution of the Wooden Ship: Basil Greenhill, Sam Manning
The collected evidence from Clive Lucas’s Stapleton and partners.
Sydney’s roads- Rosemary Broomham’s “Vital Connections”
History of Australia by Manning Clark Volumes Three and Four from 1824 to 1888.
Images from State and Mitchell Libraries of NSW
John Leary boards ship in Ireland in 1850, a young carpenter ambitious for a new life in Australia. He sails with revenge in his heart—his beloved sister has been raped by her landlord, William Baxterhouse, who escapes on another ship with even grander plans for success in New South Wales. In Sydney, hard workers like Leary and ruthless newcomers like Baxterhouse find a city fired by the Gold Rush and dedicated to creating the finest buildings in the colony. Leary has a double motive to make his construction company succeed: he has fallen in love with the beautiful Clarissa McGuire, whose family despise him, and Baxterhouse continues to rise in wealth and influence, seemingly untouchable. Meanwhile another woman, Beth O’Hare, is in love with John Leary, and he makes some hard choices—including a climactic showdown with Baxterhouse.
Unbound Justice is the first novel in The Sandstone Trilogy: a new, magnificent view of nineteenth-century Sydney from the ground up.
Thanks for sharing your insights with us, Michael. Congratulations on the trilogy.
Sunday, September 24, 2017
Dr Gillian Polack is a Medieval historian and has PhDs in both History and Creative Writing. She researches how history and fiction interface and has a strong interest in how genre narratives operate. She has also been a reviewer, critic and non-fiction writer and an award judge. Gillian's latest novel is The Wizardry of Jewish Women which was nominated for best novel in the 2017 Ditmar Awards. She has also released a volume of her research for the book in History and Fiction (Peter Lang, 2017) Eighteen of her short stories are in print and she has edited two anthologies and an historical cookbook. One story won a Victorian Ministry of the Arts award and three more were listed as recommended reading in international lists of world’s best stories. She has received two writing fellowships at Varuna, arts grants, and a Ditmar award for her work. Her book, The Middle Ages Unlocked: A Guide to Life in Medieval England 1050-1300 is co authored with Katrin Kania. Gillian ran two masterclasses during the HNSA 2017 conference. Here is her wrap-up of those sessions.
I was very lucky in the writers who joined me for it – they were thoughtful and pushed to understand more about how they can write history into their fiction, ways of doing it well, and they thought a great deal about the implications of their work. That’s why I’m writing a report on it. Their work was useful for other writers. Let me tell you about it.None of the writers were beginners. Not all of them wrote historical fiction. This meant that, for my preparation, I read tens of thousands of words. Then I pulled their work together and looked at what participants knew and did and how they expressed it. The background I called on was my own work as an historian, as a fiction writer and as a researcher into the culture brought (intentionally or not) into novels and other long narratives.
I focussed on genre, because the decisions writers make are different depending on the genre they’re writing in. I wasn’t asking the participants to learn principles, but to apply them to their own work and to discover what this led to. At its simplest, we looked at what made up a piece of telling detail in a part of their work and what uses that information had for the reader and how to make it work more effectively. At its most complicated, we talked about ethics and how historical fiction is interpreted by readers.
Because this teaching is directly related to my research, it can go in a number of directions, depending on the writers and their needs. I look at simple techniques like building telling detail and how to bring a scene to life for readers, but in the classes we also looked at story space.Story space is difficult to explain in a single paragraph for me at this moment in my research. This is because the story space I teach isn’t the same as the story space that’s written about. "Normal" story space is the place where readers go in their minds to live the tale. My story space is where writers go to write the tale. When writers know how to move into it and use it cleverly, it can make a big difference for their writing.
Story space is a very powerful tool. Using it to focus discussion, we talked about ways of reducing research time, understanding the path the novel is taking and how it fits into genre. How writing within genre works from story space and how this relates to how one sells a novel. Story space was especially important for the writers in the second class. We explored their needs as writers and each one left with an understanding of what they can do with story space. They can enter and leave it and use it to navigate and to make decisions about ethics, research, characters, historical background and the story itself.
In the first class, we didn’t talk directly about story space as much, although it was there, in the background, most of the time. We focussed on how history is presented, especially in the case of silencing some groups, and presenting some characters as hollow or as echoes. Story space played a role, but a key focus became how to handle history ethically. We talked about how our fiction reflects Australia’s cultural history, and how, unless we personally examine the culture we carry with us we’re in danger of giving some very poor gifts to our readers through feeding them our assumptions without knowing. One of the students helped us understand these issues through giving us some very illuminating anecdotes: each participant in these classes had as much to give as to learn. Their thoughts and stories assisted a great deal in underlining why writers need to know who they are and where they come from and what they bring to their fiction.
What emerged from both classes was a need to be aware that history can be told in a way that will hurt because characters who come from a particular background often fall into stereotypes, and that this affects our broader culture when we modify the historical record in this way.Story space and the culture we carry into our writing work together to help solve these problems. It’s never going to be easy, but it’s possible to evaluate the relationship of wider culture, the culture we carry, and the needs of our novel, and making the most appropriate decisions for our fiction.
Every really good writer balances this deep reflection with writing techniques. This is why we also talked about the difference between history and novels. What decisions have to be made in order to write a good novel? What history is one actually producing? How is this history seen by historians?The second half of each session was mainly spent on looking at the work of the individual writers in the class. My historian side was much in use, and we talked about several historical periods and their sources and what different ways there are to interpret them. We also talked about how to depict history so that it comes to life and where to find examples of writing styles and how to locate and use telling detail.
There was so much to say and so much everyone wanted to hear. What was sad was that I lost my voice in the middle. Over a week later and my voice still has its moments. The writers were worth it, however. Hard-working and thoughtful. I almost forgot the fact that I was croaking and whispering in turn, because the questions were so interesting and their reflections so worth hearing.I was very lucky in the authors who chose to do the masterclasses. There are some very good novels in our nearish future. Note: The subject is big and it’s complicated and a blogpost doesn’t do it justice. I’ve written on several aspects of the background I drew on for the masterclasses (ie I’ve written about my own research), in my academic work (History and Fiction was easily the most useful single work for most of the writers), and in blog pieces (such as some of those here ). For further information, read Wendy Dunn's interview with Gillian Pollack.
Join our celebration!On the weekend of 8th – 10th September 2017, the Historical Novel Society Australasia (HNSA) is holding its Melbourne conference at Swinburne University, Hawthorn, exploring the theme of Identity: Origins and Diaspora. Our full programme can be found at our website.
Over 60 fabulous speakers
History with a twist...
Our opening reception will be held on Friday 8th September where attendees will celebrate Kate Forsyth’s Beauty in Thorns with plenty of prizes. There will also be a lively round table discussion led by Nicolas Brasch in which Arnold Zable, Gary Crew, Hanifa Deen and Ngahuia te Awekotuku will discuss our theme, in particular, the role of the historical novelist in exploring first encounters in Australia and New Zealand’s colonial pasts, the migrant experience underlying those nations’ multicultural identities, and whether an author’s origins are relevant to the story telling.
Three concurrent streamsThe conference program on September will consist of three streams. The first will continue to explore the conference theme and include interviews with a number of talented authors. The second stream will deal with research and writing craft; the third will consist of an academic programme.
Our guest author is Kerry Greenwood, author of the Phryne Fisher Mysteries, who will provide insights into her novels, her writing processes, the TV adaptation of her series, and other aspects of her stellar career.
Exploring our Australasian national identity
Other panels exploring our theme in our first stream include 'First Encounters and Our Colonial Past' with Lucy Treloar, Deborah Challinor, Nicole Alexander and Andrew Peters, followed by 'Immigrant Stories and Diaspora: How Pioneers Adapt and Survive in their New Land' with Kim Kelly, Arnold Zable, Maxine Alterio and Vicky Adin. And Natasha Lester, Robyn Cadwallader, Elisabeth Storrs and Kathryn Gauci will explore 'Venturing Forth: Exploring Historical Fiction beyond National Boundaries and Australian History.'
Time travelling, world wars and parallel narratives
Our second stream on Saturday will canvas various aspects of research, sub-genres and the writing craft. Wendy J Dunn, Barbara Gaskell Denvil, Stephanie Smee and Rachel Nightingale will discuss 'How to Transmute Research into Compelling Historical Fiction' while Paddy Richardson, Elise McCune, Justin Sheedy and Julian Leatherdale ponder 'World at War: The Appeal of 20th Century Historical Fiction.' 'The Outlander Effect: Parallel Narratives and Time Travelling' will see Belinda Murrell, Felicity Pulman, Gary Crew and Ella Carey discuss the challenges of weaving tales of two protagonists from different time periods into the plots and themes.
'First pages' pitch contest
Our Saturday programme will end with our very popular First Pages Pitch Contest where an actor will read aloud chosen submissions from aspiring authors to industry experts who will provide a critique. The session will also provide other attendees with a chance to learn what attracts the attention of agents and publishers when seeking new historical fiction. Entrants will remain anonymous other than the winner. Our judges are Alison Green (Pantera Press), Sophie Masson (Eagle Books), Mandy Brett (Text Publishing). Rachel Nightingale will act as narrator. You can enter the Pitch Contest here.
Personal historiesThe first stream on Sunday sees two Personal Histories sessions where Kate Forsyth explains why she delved into adult historical fiction after writing acclaimed fantasy novels for children and young adults while Deborah Challinor reveals where she obtained the inspiration for her three historical series, numerous standalone novels, and non-fiction books?
In 'The Long Haul: Writing Successful Series and Multiple Books', Juliet Marillier, Libby Hathorn and Anne Gracie will reveal how they maintain momentum. And what keeps the spark of inspiration from being doused.
A much anticipated panel will be exploring the appeal of historical mysteries in which Sulari Gentill, Robert Gott, Meg Keneally and Gary Corby will ponder why readers are attracted to the addition of history to murder and mayhem, and the challenges novelists encounter when creating detectives who lack modern crime kits.
Sub-genres and the writing craftOur second Sunday stream will continue to highlight issues relating to the writing craft. Alan Tucker, Gabrielle Wang, Wendy Orr and Pamela Rushby will tell us why writing CYA fiction is not an easy option. Isolde Martyn, Lisa Chaplin, Alison Stuart and Anna Campbell will tease out whether there is a difference between historical romance and historical love stories. As a treat, Kate Mildenhall, Melissa Ashley, Greg Pyers and Luke Devenish will discuss the 'Modern Voice in Historical Fiction'. Should an historical novelist cater for the tastes of 21st Century readers by introducing modern expressions and dialogue in their novels? Is it valid to introduce current sensibilities to characters who would otherwise have been constrained by their own societies?
Our final sessions for Sunday will include 'Pathways to Publication', Lindy Cameron talks to agent Clare Forster and publishers Alison Green and Mandy Brett on the expectations of agents and publishers when looking for the next big thing in historical fiction.
Pathways to publication
Writing outside your comfort zone - sex and violenceAnd you will not want to miss out on our concluding panel where Kate Forsyth, Luke Devenish and Anna Campbell will read some of their saucier excerpts as well as provide tips on writing 'Outside the Comfort Zone: Writing Sex and Violence.'
There are ten skills-based workshop super sessions running concurrently with the main conference program on Historical Mysteries, Historical Romance, Children and Young Adult Fiction, Pitching to Publishers, Social Media, Scrivener, Self-Publishing, Family History, Trove, and the Business of Writing. Attendees will gain the benefit of tutors such as Sulari Gentill, Anne Gracie, Isolde Martyn, Elisabeth Storrs, Elizabeth Lhuede, GS Johnston, Kelly Gardiner, Hazel Edwards, Eleanor Limprecht, Rachel Franks and Lisa Chaplin. Purchase of a ticket entitles attendees an entry into a $100 Dymocks Gift Card Giveaway.
Transforming research and the clash of armourDr Gillian Polack is offering two masterclasses focused on how to weave research into convincing and authentic historical fiction. There also will be interactive sessions on armour with Matt Curran (Leif the Viking) and historical costumes with Rachel Nightingale. There is also a chance to have your manuscript assessed by industry experts, Alison Arnold and Irina Dunn. Book your appointment here.
HNSA is conducting a third stream which will give academics the chance to answer a call for papers in two topics: 'Bio-fiction: Can you Defame the Dead?' and 'The Lie of History'. Successful applicants will then present their papers. General admission is free to all attendees to enjoy listening to these fascinating discussions but spaces are limited so please reserve a space. More details about the academic sessions are available here.
Inaugural HNSA short story contest
HNSA is excited to announce the establishment of its inaugural short story contest with a prize of $500! Many thanks to Eagle Books for sponsoring the prize and to Sandra Gulland agreeing to act as judge. The winning entry and two other short listed stories will be published in Backstory ezine. The Historical Novel Society is also offering a free membership to the winner. You can enter the contest via this link.
Last but not least, don't miss our conference dinner where you can enjoy highlights of the day with your fellow attendees while eating a delicious meal and listening to our dinner speaker Robert Gott.
You can buy tickets to our conference and learn more about our speakers via our website www.hnsa.org.au. Book now to take advantage of early bird registration.
Let's Make a Noise about Historical Fiction!