You Can Dance

Right now I’m trying to get Little Birds off the ground, and it has been a struggle. It’s always a struggle, but these characters are not at all clear yet, and until I get a better sense of them everything is stalled.

Today I had a kind of breakthrough, which doesn’t happen often. I’m writing about it here so I will remember exactly what happened, and also to entertain readers who happen to wander by.

Two of the primary characters in Little Birds are pretty well established in my head (they are  Lily’s children, but you don’t know them), but a crucial third character — somebody entirely new — is missing.  This has been causing me some distress. Of course I did what all writers of fiction do in this all-too-common fix: I found a way to procrastinate and went out to run errands.

Driving home from errands, I decided to turn off the audiobook that was playing (dry, but interesting) and turn on my current music playlist, which is set to shuffle. The song that started took me by surprise because I forgot it was on the list:  Save the Last Dance for Me — the Drifters original recording.  

And suddenly I had that third missing character.   I don’t even know his name yet, but I can see him leaning against a wall, arms crossed, watching people dance.  Or maybe, just maybe, somebody has offered him a fiddle and he’s playing and watching the dance floor.

Where did this come from, you might be wondering.  I had to think about it to sort out the associations, but it ties into my own experiences while I was living in Vorarlberg in my early twenties.  I did a lot of dancing. There were dances, all the time. Simple weekend dances.  Big fancy dances for Mardi Gras or annual celebrations of one guild or another. Big or small they all featured local musicians and dancing. And lots of beer. And schnapps. You’re thinking ump-pa-pa, but no. That’s not what it’s like at all and I’m not sure I can make it clear how un-umpa this experience is, but I’m going to try.

Imagine  a lot of people crowded onto the dance floor, some proportion of them much the worse for beer, still cheerful as they bumbled along.  Some small portion — maybe fifteen percent — were there because they really liked dancing and were good at it. I was in that fifteen percent. 

This is a video from Helsinki, a polka dancing competition.  The music is scaled way way down, but I’m posting this here so you can see the dancing. You can hear the excitement in the audience, and hear them yodeling in appreciation. This captures part of what it’s like. 

In your imagination you have to speed this up some, and also imagine it is happening in a hazy smoky dance hall (ca 1980), and now imagine the dancers are just regular (and somewhat younger) in their nice-casual clothes. But they can dance. Speed it up again. If you’re good at this there’s a lot of improvising, double and triple steps, stamping, things I can’t really describe but I could do, and do well. If I had stayed there I’d probably weigh 120 and be able to carry a calf around, no problem. It’s exercise and cardio exercise all rolled into a single package that you WANT. And that’s the trick, of course. 

One of the chapters in Homestead was meant to capture what this kind of dance was like.  Now, today, while I was listening to Save the Last Dance I had a flashback to the dance I described in that chapter.  This is what happened in real life: Someone I didn’t know asked me to dance toward the end of the evening, when the musicians had had a couple shots of schnapps and they were just on a tear.  I had noticed this guy dancing and hoped he might come ask me, because watching him I knew that I would dance well with him. 

Here’s the thing, in this kind of dancing. If a guy who is strong and lithe and confident puts a hand on your waist and takes your other hand in his, and then he just takes off — and you can follow him — it’s the most exhilarating thing in the world. If you can follow him, and then assert yourself a little, and he responds to this … I’m going to say this but you won’t believe me. Better than the best sex.   To this day I remember the feel of the stranger’s arm muscles through his shirt.  I remember the way he smiled down at me, and winked. I remember he didn’t ask and I didn’t hesitate when the set ended, we just kept dancing.

I never saw him again, never learned anything about him, but we were absolutely in sync with each other in a way that is distinctly more than dancing.  There were a lot of unplanned pregnancies in Vorarlberg at this time (and maybe still are, but apparently this kind of dancing is out of favor, to which I say NO NO NO), and I am convinced that some large percentage of them happened after two people click like this on the dance floor.

Now I have to go figure out who this character is. While I interrogate him you can watch this Bruce Springsteen cover of Save the Last Dance. It gives me chills, because: well, nobody can do a song like this better.  After you watch this go look for his Tougher than the Rest. 

 

The Cost of Research

I couldn’t write the novels I write from where I live if not for the internet. I would have to have access to an academic library, or to the libraries and historical societies in New York, New Orleans, DC, Chicago and more recently, St. Louis and Santa Fe.

When I first began writing Into the WIlderness I was on the faculty of the University of Michigan, which has an outstanding library. And still I had to buy a lot of material for research purposes.  I spent as much as $5,000 a year on  books, old newspapers, journals and maps.

Now it’s rare that I buy an actual book. Last year I think I bought a total of eight books that I couldn’t access in any other way, and about as many old journals that research libraries don’t carry. But I have the internet.  There are what may seem like infinite places to find historical resources — The Library of Congress, for example — which are free for anybody who cares to go rummaging through their attics in the clouds.  That is not to say that I don’t spend money.  I pay for a wide variety things. This is a partial list.

Service NamePurposeAnnual Cost (approx)
Zoteroreference management database, unlimited storage*$100
Evernote Premiumresearch notes organization and storage$96
JSTORacademic publication access$200
Ancestryincludes Newspapers.com and Fold3.com$400

*I have to be able to find the articles I use in research once I have them, thus the need for reference management. I have to be able to find my notes about those resources I’ve found, too.

Ancestry is the resource I depend on most often, because it includes full access to newspapers.com.  I use the census and other databases accessible through Ancestry every day, but I depend most often on the millions of pages of newspapers that were printed on the exact day in the exact place I’m writing about.

If I need to know what a dozen eggs cost in Boston on January 1, 1872, I can find that. Usually exactly, but sometimes within a day or two. 

click for larger image
click for larger image

There are very good maps on Manhattan in the 1880s, but sometimes information on the map itself isn’t enough. I needed to know about a bookstore on Union Square, and I found that info in a newspaper ad.

 

 

When historical, real life people wander into something I’m writing, it gets serious.

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click for larger image

For example, I have done a lot of research on two people who practiced medicine in Manhattan in the 1880s. Dr. Mary Putnam Jacobi and Dr. Abraham Jacobi, a married couple, both well known to historians of medicine. They both appear now and then in The Gilded Hour, and a little more often in Where the Light Enters, and I have done family trees for them both. Mary interests me because she was the first female physician to challenge the idea that a woman must be maternal first, even in her role as a doctor. The newspaper editorial you see here helped me flesh out her character.

You’re wondering why I would need to do genealogical research on the Jacobis, right?

I know from biographies that they had a son who died as a child.  The idea that I would have either of them popping into my storyline to participate in a light-hearted meal with friends on or near the day their son died? Nope. Can’t take that chance. Thus the need to research their lives.  I blame my training in the social sciences. I just can’t leave that kind of thing to chance. 

I often run across incredibly interesting bits and pieces in the newspapers that make a storyline come to life, and sometimes I post them here, or more likely on  Facebook.  Here’s one I may put to use at some point:

AIMED AT COURT HARPIES.
Lawyers ask for an Italian speaking-officer In the Tombs Police Court.
 
Lawyers who practice in the Court of Special Sessions and the Tombs POlice Court are anxious to have a policeman attached to the Court squad who can speak Italian.
This, they say, has become necessary from the fact that a great many worthess Italians hang around the courts and make a living preying upon their unsophisticated countrymen, making all sorts of promises to influence their cases for a consideration.
John J Delaney recently appointed to the Tombs, has done a good deal towards the abolition of the system but enough of it remains to call for the intervention of the Board. With this object in view a step will be taken within a day or two to lay the matter before the Police Commissioners.

Clipped from 

The Evening World,  26 Jun 1890, Thu,  Second Edition,  Page 1

Odd connections in historical fiction: the lottery, Cuba, New Orleans, and Little Birds

It has been a while since I posted here on the weblog. I think of it as a bone pile, a huge mountain of stuff that should be sorted and ordered and made useful, but: no time. 

Today I’m using it to record an odd set of coincidences that shouldn’t surprise me, really. Historical fiction research often results in this kind of Frankenstein-ian monster, a creaky breathing thing with real potential but at the same time, offputting.

My friend Jason did some research for me last year in the DC libraries, and in the process he ran across reports about Italian immigrants in 19th century New Orleans being lynched. I’m very interested in the huge pile of docs he put together but I haven’t allowed myself to jump in because I’m trying to get this new novel moving. Little Birds is set in New Mexico territory in 1857, you see, so no excuse to be wandering around New Orleans.

But of course I have to get these two people from New York to New Mexico, and that means (1) early train travel — not as well documented as you would guess, unfortunately; (2) St. Louis in its time as doorway to the west — also not as well documented as I would like (for instance, if you can find a street map — any street map, no matter how rough — of St. Louis ca. 1857, you are the more creative researcher than I); (3) travel by steamboat on the Missouri River from St. Louis to Independence (there is more, but not enough information on this).

It’s the last bit I’ve been working on lately, this morning going through Hiram Martin Chittenden’s 1903 History of Early Steamboat Navigation on the Missouri River (Volumes 1 & 2). As anticipated there were lots of missionaries traveling west (Jesuit, Mormon, etc etc) and the whole Bleeding Kansas business had New Englanders headed for Kansas territory (you thought the Civil War started in 1861 when Beauregard opened fire on Fort Sumter in Charleston?)… but really what I’m looking for are odd bits like this:

It so happened that two St. Louisans, Sam Gaty and a man named Baldwin had recently won a prize of forty thousand dollars in the Havana lottery, and were using it in building a boat […] Captain La Barge made the annual voyage of 1855 in this new boat.

$40,000 in the Havana lottery? That was a huge amount of money at this point. So off I go to look into the Havana lottery and I discover… that I’m back in New Orleans, where the Cuban lottery was very, very popular. In fact, all lotteries were so popular that they were the primary way of funding all kinds of projects you would expect to be financed by taxes.  From a website which is much too short for my tastes:

By the 1810s the number of lotteries began to rise exponentially, making way for an entirely new profession, the lottery broker. Once sponsoring parties had been granted a franchise, the middleman-broker would oversee every aspect, including ticket sales, advertising, and payouts. Many lottery brokers would go on to stellar careers in banking, such as ticket salesman John Thompson, who founded the Chase National Bank (Chase Manhattan) in 1873. Although states began outlawing lotteries in the 1830s, they remained popular throughout the century; believing as much in luck as in the self-made man, Americans continued to buy lottery tickets in the hopes they could obtain something for nothing. Capitalism by Gaslight

So now I’m straddling New Orleans, St. Louis, the Missouri River, and I’m also back in Manhattan and I’ve got this very interesting character giving me the eye. He’s a lottery broker. Originally from Cuba. Or maybe Italy. A brand new copper by the name of Oscar Maroney who likes card games knows him, and can tell some stories. This lottery broker wants a spot in Little Birds, and he’s going to be persistent about it, I can tell. 

Meanwhile I’ve got to get these two characters off the train, through St. Louis and onto a steamboat on the Missouri.  One of them is wondering about maybe a detour to New Orleans, and he’s over there talking to a good looking young guy who has just starting his apprenticeship as a steamboat captain on the Mississippi. Name of Sam.

Software for the Historical Novelist, and Little Birds

I don’t know how I missed this, but now that I’ve found  Aeon Timeline 2, I have to share the good news.

Because I write historical fiction I’m always juggling fictional characters and events with what really happened.  I have spent hundreds of hours mapping out battles in order to wind my plot lines in and out and around. The battle of New Orleans in the War of 1812 was a major challenge, and it was, in relative terms, straight-forward. 

With this timeline software I can have fictional and non-fictional events displayed in ways that help me visualize connections and overlaps (and more important: errors), and I can color code everything so I can tell the difference right away. 

Characters are set up one by one and can be assigned to storylines, and that’s just the tip of this iceberg. 

Unfortunately the people at Aeon have put up screenshots that are too dark to really appreciate, but here’s one of them. 

click for full size

The first thing I did was change the color scheme to dark on light.

I would show you a sample of my own timeline, but that would mean giving away information about the next novel (tentatively titled Little Birds) and that would be really dopey of me at this early stage.  She said slyly.