Mathoms and Fathoms

18 Wednesday Jan 2017

Posted by lebedusya1 in Economics in Middle-earth, Imaginary History, J.R.R. Tolkien, Literary History, Research, Uncategorized

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Across the Doubtful Sea, alternate history, anachronisms, Anglo-Saxon, Bertil Thorvaldsen, cabinet of curiosities, Cicero, Elias Ashmole, Gaius Verres, Greeks, Hellenistic, hobbit measurement system, John Tradescant the Younger, Marquette University, mathom, Mathom-house, mathum, Muses, Oxford, Renaissance, Rochester, Romans, sculptor, Shire, Strong Museum of Play, The Lord of the Rings, Tolkien, Victorian Museum

Welcome, dear readers, as always.

A year or two ago, we were visiting the Strong Museum of Play in Rochester, New York, a wonderful place, filled with memorabilia of childhood, as well as up-to-date exhibits and generally just fun things to see and do. (Strong Museum website)

Museums, as public display areas, are rather recent in western history.

The name tells us that it was to be a place devoted to the inspirers of the arts, the ancient Greek Muses.

(This is not ancient, but a 19^th-century imitation by Bertil Thorvaldsen, 1770-1844, one of the early Romantic period’s most famous sculptors.)

Greeks—later ones (in the period called “Hellenistic”)—and the Romans collected artistic things, but they were private collections—although Cicero

in his orations attacking the corrupt ex-governor of Sicily, Gaius Verres, mentions that a predecessor had nobly allowed his art to be loaned out to decorate the public streets on festive occasions. (It is a horrible irony that Verres, who had fled Rome when it was clear that Cicero had demolished him and his reputation in his first speech, was eventually murdered in Massilia—present-day Marseilles–over a piece of sculpture.)

The first actual “museums” in modern times were Renaissance collections—often hodgepodge assemblies called things like “cabinet of curiosities”, but in England, by the 17^th century, John Tradescant the Younger (1608-1662)

had built upon his father’s collection, which was held in the family house south of the Thames (called “The Ark”).

At his death, that collection passed to Elias Ashmole (1617-1692)

—and there’s a really strange story about how this happened and the consequences, including the very suspicious death of Tradescant’s second wife, Hester.

Ashmole bequeathed it to his alma mater, Oxford, on the condition that an appropriate building be constructed for it. That structure was built, in 1678-83, and may have been the first public museum in western Europe.

There is, in fact, a museum in the Shire. In the Prologue to The Lord of the Rings, we are told of Bilbo that:

“…his coat of marvellous mail, the gift of the Dwarves from the Dragon-hoard, he lent to a museum, to the Michel Delving Mathom-house, in fact.”

(where Gandalf supposes it is “still gathering dust”—The Fellowship of the Ring, Book 2, Chapter 4, “A Journey in the Dark”). Its name and function are described in the Prologue:

“The Mathom-house it was called; for anything that Hobbits had no immediate use for, but were unwilling to throw away, they called a mathom.”

Such a description suggests something more like an old-fashioned Victorian museum,

or even a “cabinet of curiosities” like Ole Worm’s 17^th-century one.

We suspect that the Mathom-house is JRRT’s quiet joke on such older museums, which, even in his day, could be filled with dusty glass cases in which were a wide variety of objects, from fossils to rusty weapons found in the fields, all described on yellowing, hand-labeled cards. In the Hammond and Scull Companion, they suggest that the joke is even more complex, first quoting Tolkien “mathom is meant to recall ancient English mathm”, to which they add:

“Bosworth and Toller’s Anglo-Saxon Dictionary (1898) notes mathum ‘a precious or valuable thing (often refers to gifts)’. Thus Tolkien uses mathom ironically for things which are not treasured, only for where there was ‘no immediate use’ or which the Hobbits ‘were unwilling to throw away’.”

The Strong Museum, in contrast, is bright-colored and inviting, and, in a section dedicated to children’s authors, there is an entire display case devoted to JRRT, which included this. It’s a beautiful replica from the Marquette University Tolkien archive of a menu (the label gives the date “1937-1955”) on which JRRT has carefully written out the hobbit linear measurement system.

You can see that, unlike the rather abstract mechanism of the metric system, with its linear basis being a segment of the distance from the North Pole to the equator, Tolkien has used the Anglo-Saxon tradition, where the “foot” was actually originally based upon body parts, being divided into 4 palms or 12 thumbs (although there is another system based upon barley corns).

And, just to confirm this, to the right of his bold numbers, there are fainter numbers which indicate the English equivalents.

This system, as ingenious and carefully-worked out as it is, is never used, either in The Hobbit or in The Lord of the Rings. The measurements we can remember—this was done off the top of our heads—any reader who would like to supply more, please feel free!– actually being used are:

leagues (about 3 miles per league is pretty standard = 4.8km)
ells—30 make the coil of elven rope Sam takes from the boat in The Fellowship of the Ring, Book 2, Chapter 8, “Farewell to Lorien” (one ell = about 45 inches = 114 cm; 30 ells = about 112 feet = about 34 metres)
inches–Sam, in The Return of the King, Book 6, Chapter 4, “The Field of Cormallen”, comments that Merry and Pippin are “three inches taller than you ought to be” (3 inches = 7.6cm)

Why spend so much time and effort on something which never went anywhere farther than a menu card in an archive, then?

It’s possible, of course, that this was written in a moment of boredom: although we don’t actually know the occasion, we can imagine that the menu was for a formal dinner to which JRRT had been obliged to go and he improved upon a dull moment with a little Middle-earth fun. Then again, the dating of the card, “1937-1955” places it between the publication of The Hobbit and that of The Lord of the Rings: was this something worked up to be employed in the latter, but simply never needed—or was it, once produced, abandoned as too obscure and hence the use of the (potentially) more familiar leagues, ells, and inches? Or, again, was this simply a product of the almost-obsessive side of JRRT, where so much was so painstakingly created in fine detail? Here is another item from the Strong Museum which displays that side. It is a working-out of the phases of the moon for The Lord of the Rings (sorry it’s a little blurry—this was taken through plexiglass with an i-phone).

In an early posting, we once wrote about achieving authenticity in a fantasy novel. Our first, Across the Doubtful Sea, which was set in an alternate 18^th century, in France, in London, in South America, and in the South Pacific, required a great deal of research.

To prepare for it, we spent some time reading books on everything from 18^th-century navies to South Pacific exploration (and even posted a partial bibliography). Much of our research went into the finished book, but much never did. What we hoped, however, was that, by having so much background in our heads, that background would be reflected in our text. That meant, even if it were an alternate 18^th-century, there wouldn’t be glaring anachronisms, on the one hand, but, on the other, that we would give our work a “feel” for the period which would be convincing to our readers and so increase both their engagement and their enjoyment. We would like to think that JRRT, when scribbling hobbit measures on a menu card, had had the same goals.

Thanks, as always, for reading.

MTCIDC

We’ve had the crazy idea to build our own imaginary Mathom-house for the works of JRRT and we’re having fun thinking what visitors would see hung from the walls or lying in the cases. Readers: what would you like to see on display?

Like Smoke From a Fire: Sharkey’s End

04 Wednesday Nov 2015

Posted by lebedusya1 in Fairy Tales and Myths, Imaginary History, J.R.R. Tolkien, Maps, Narrative Methods, Research

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Adventure, Birmingham, Branywine, Bywater, Coketown, Dickens, Dol Amroth, England, Ents, factory, Fangorn, feudalism, Galadriel, Gandalf, Grima, Hard Times, Hobbiton, Idylls, industrial, Industrial Revolution, Isengard, King Edward School, Medieval, Merry, Midlands, Mordor, Morris, Oxford, Palantir, Pippin, poetry, pre-industrial, Saruman, Sauron, Scouring of the Shire, Sharkey, Southfarthing, Tennyson, The Lord of the Rings, The Shire, Tolkien

Dear Readers,

Welcome, as always.

In a previous posting, we talked about Saruman as a kind of imitation Sauron and Isengard as a mini-Mordor.

In this posting, we want to consider the implications of Gandalf’s remark about him in “Many Partings”, from The Return of the King: “I fancy he could do some mischief still in a small mean way.”

The mischief, when we see it, is definitely mean, but not small, even though confined to the limits of the Shire.

The world of The Lord of the Rings is a pre-industrial one. The most advanced technology, on the one hand, is the palantir (actually perhaps a magical, rather than mechanical, device)

and , on the other hand, a watermill.

Beyond that, it’s a medieval world, but without, it seems, feudalism, although there are, for example, castles and knights in the form of the Prince of Dol Amroth.

We can easily see why JRRT wanted this regression. On the one hand, like so many boys of his age, he had grown up reading Tennyson

and William Morris

who had created a world of Victorian medievalism, Tennyson in poetry, Morris in many different art forms.

On the other, Tolkien had grown up in Birmingham, in the English Midlands, where there had been massive development throughout the era of the Industrial Revolution.

Here’s Charles Dickens’ description of such a place from Hard Times (1856):

(Excerpt Describing Coketown)

Needless to say, although Tolkien kept a strong affection for King Edward School, where he was educated before Oxford,

he was less enthusiastic about the industrial world which surrounded it and this clearly colors his picture of Saruman. Look, for instance, at Fangorn’s description of him:

“He has a mind of metals and wheels; and he does not care for growing things, except as far as they serve him for the moment.” (The Two Towers, Book 1, Chapter 4, “Treebeard”) (It’s revealing, by the way that this is almost a quotation of something which Saruman later says of Gandalf, “When his tools have done their task he drops them.” The Return of the King, Book 2, Chapter 8, “The Scouring of the Shire”)

Saruman, then, with his metal mind, has turned the once-beautiful Isengard

into an arms factory

another Midlands,

and has angered the Ents, as well, by the wanton destruction of trees, not just for fuel, it appears, but just out of sheer spitefulness.

As we wrote earlier, all of this has remade Isengard into a mini-Mordor—as Frodo says: “Yes, this is Mordor…just one of its works. Saruman was doing its work all the time, even when he thought he was working for himself.” (The Return of the King, Book 2, Chapter 8, “The Scouring of the Shire”)

So, when Saruman, Grima in tow, leaves his ruined factory, one could almost imagine just what he might have in mind when he says to the hobbits:

“Well, it will serve you right when you come home, if you find things less good in the Southfarthing than you would like.” (The Return of the King, Book 2, Chapter 6, “Many Partings”)

We know from Merry and Pippin’s experience at the gate of Isengard that Saruman has been importing pipe-weed, a main export of the Southfarthing.

But when the hobbits, having forced the gate at the Brandywine, are making their way towards Hobbiton, they begin to have a feeling that much more has been damaged than the South Farthing: “Still there seemed an unusual amount of burning going on, and smoke rose from many points round about. A great cloud of it was going up far away in the direction of the Woody End.” (The Return of the King, Book 2, Chapter 8, “The Scouring of the Shire”)

This smoke bears an ominous resemblance to the Midlands (and, in fact, to all of industrial England):

There is worse to come, however: Bywater. “Many of the houses that they had known were missing. Some seemed to have been burned down. The pleasant row of old hobbit-holes in the bank on the north side of the Pool were deserted, and their little gardens that used to run down bright to the water’s edge were rank with weeds. Worse, there was a whole line of ugly new houses all along the Pool Side, where the Hobbiton Road ran close to the bank. An avenue of trees had stood there. They were all gone. And looking with dismay up the road towards Bag End they saw a tall chimney of brick in the distance. It was pouring out black smoke into the evening air.” (The Return of the King, Book 2, Chapter 8, “The Scouring of the Shire”)

And here, we move from a single smoking mill to a smoking mill town.

Saruman’s revenge has been more than small and mean, especially in terms of the industrial world which The Lord of the Rings rejects: the Shire is on its way to becoming another Midlands,

even to the workers’ miserable housing.

And the cutting down of trees (including, as we will find out, the Party Tree) insures the truth of Saruman’s sneering statement to the hobbits:

“…I have done much that you will find it hard to mend or undo in your lives.” (The Return of the King, Book 2, Chapter 8, “The Scouring of the Shire”)

But, as we know, Saruman, even in his moment of triumph, has no more than a moment to enjoy it. He is murdered by Grima and here we see the final irony. As Saruman has turned the medieval, bucolic Shire into a smoky horror, so he himself is turned to smoke:

“To the dismay of those that stood by, about the body of Saruman a grey mist gathered, and rising slowly to a great height like smoke from a fire, as a pale shrouded figure it loomed over the Hill. For a moment it wavered, looking to the West; but out of the West came a cold wind, and it bent away, and with a sigh dissolved into nothing.” (The Return of the King, Book 2, Chapter 8, “The Scouring of the Shire”)

A final thought, however. Might we see Saruman’s gesture towards the West, in which he clearly feels that he has been rejected by that which sent him to Middle Earth, as a mirror Galadriel’s gesture of rejection towards the East, when she refuses the Ring?

“She lifted up her hand and from the ring that she wore there issued a great light that illuminated her alone and left all else dark. She stood before Frodo seeming now tall beyond measurement, and beautiful beyond enduring, terrible and worshipful. Then she let her hand fall, and the light faded, and suddenly she laughed again, and lo! she was shrunken: a slender elf-woman, clad in simple white, whose gentle voice was soft and sad.” (The Fellowship of the Ring, Book 2, Chapter 7, “The Mirror of Galadriel”)

Thanks, as always, for reading.

MTCIDC

Pyle of Pirates

06 Friday Mar 2015

Posted by lebedusya1 in Artists and Illustrators, Military History, Research, Writing as Collaborators

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Bunker Hill, Howard Pyle, Illustrating History, Jack Sparrow, Pirates

Dear Readers,

Welcome!

In recent posts, we’ve talked about the wonderful Russian fairy/folktale illustrators of the late 19th, early 20th centuries. We thought it might be fun, as we work on the sequel to Across the Doubtful Sea (Empire of the Isles) while editing The Good King’s Daughter for our second series, to continue the conversation by looking at other illustrators, beginning with two Americans, teacher and pupil Howard Pyle and N.C. Wyeth.

We begin, however, with a familiar contemporary image:

We think it goes without saying who this is, don’t you? He’s a wonderful actor, but, for someone who’s supposed to be dressed as a mid-18th-century sailor, he owes more to Howard Pyle, who, as has been pointed out more than once before, has exerted a strong influence upon Hollywood’s view of such people, than to actual 18th-century sailor’s dress.

Pirates were, in fact, sailors with, shall we say, non-mercantile goals. They were workmen and wore very practical workmen’s clothes, like those in the following 18th-century illustrations.

(This is, in fact, a contemporary illustration of the casting adrift of the notorious Captain Bligh, a British naval officer, although you see him only in his shirtsleeves here, rather than in his blue officer’s coat. His men, however, did not wear uniforms at this period, and, as you can see, would have looked like any other sailor.)

Okay, it might be argued, he’s “Captain” Jack Sparrow–what about officers? Here’s a Hogarth painting of a more-or-less mid-century civilian captain.

As the illustration shows, he simply wears ordinary clothing– no uniform.

Now, here are a few Pyle pictures.

Typical Pyle touches: the bandanas and the huge sashes, not to be seen in period illustrations.

One might argue that Pyle lacked readily-available visual sources: someone in the 1890s certainly didn’t have Google Images. It has been said, that, like Detaille in France, Pyle collected period uniforms, etc., and sometimes dressed up students in them, but, one has only to look at his illustration of Bunker Hill, to make you wonder what he actually collected.

There are numerous errors here, from the cut of the coats, to the lace on the breast, to the packs and that’s only the beginning. The study of the history of uniforms was, of course, only in its infancy in this period and even serious military artists, like H.A. Ogden, could go very wrong.

And yet, there are also Pyle illustrations like these, in which he seems to have gotten things– at least, non-piratical things–right.

In these, you see a depiction of 18th century sailors which looks much more like those in actual period illustrations.

So what was Pyle up to? Let’s look at a much more modern depiction of Bunker Hill, by the American military artist, H. Charles McBarron.

McBarron was a member of the Company of Military Historians and Collectors. He was well-known not only as a skilled artist, but as a thorough researcher, and the owner of an extensive collection of militaria of the past. What you see in this picture (minus the graphic depiction of violence) would have been as accurate a depiction of the event as anyone might imagine.

Suppose, however, you were attempting to picture this event in dramatic terms from the British side. You would want long lines of red-coated, determined men, marching steadily uphill through their own casualties, as in Pyle’s illustration.

Imagine, then, that even if you had much more visual information about pirates than Pyle may have had, but you wanted people to see pirates painted broadly and dramatically, what better than flowing headscarves, and big, blood-red sashes?

And this is why people in the past–and we in the present– love Pyle. Strict accuracy certainly has its place, but we’re perfectly willing to let it walk the plank in favor of romantic strokes and bold depictions.

And, as always, we ask you readers, what do you think?

Next, Pyle’s pupil, N.C. Wyeth.

Thanks for reading,

MTCIDC,

Tracking

09 Monday Feb 2015

Posted by lebedusya1 in Imaginary History, J.R.R. Tolkien, Maps, Narrative Methods, Research

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Adventure, Book, Exploration, Fantasy, Fiction, History, Maps, Tolkien

Dear Readers,

While working on Across the Doubtful Sea, the Doubtful Sea series, and a forthcoming series that takes place in an alternate medieval Russia, we discovered for ourselves what our friend J.R.R. Tolkien worked on meticulously during the course of his work—the importance of maps in a story, whether they are real, fictional, or a mixture of both, in the case of our work. “If you’re going to have a story,” he said, “you must work a map; otherwise, you’ll never have a map of it afterwards.”

This became apparent when we were working on Across, using previously drawn maps of the theoretical Terra Australis:

To give us a sense of where our characters and we were (and still are) going.

When we began talking about the geography of our alternative Russia, we began to ask ourselves, first, how do you make a map in relation to a story? It was a start to look over the shoulder of JRRT, and to see what was done before us. From there, we go on to ask, what is it that made Middle-earth Middle-earth? It’s clear that Tolkien took a considerable amount of time and care to chart out his elaborate fictional world, from Bilbo’s own maps of the Shire and the world beyond.

Some were detailed enough to follow the day-by-day travels of the Fellowship, while others were used to record specific moments in time, both historically and geographically.

In his letters, Tolkien often addressed the subject of his maps. Much of his enthusiasm in creating maps for his worlds had to do with the pleasure of doing so, and the satisfaction of building the physical structure of such an elaborate story. He was, however, sometimes overwhelmed by them—perhaps as if the more landscape he made, the more he had to carry—and said to his publisher that it was a matter of a “lack of skill combined with being harried” (Tolkien, letter 141). He was fortunate to have, in this aspect of his work, collaboration not unlike ours—his son, Christopher, was a talented cartographer, and after discussing the landscapes with his father, would draw the intricate world in accordance with Bilbo and Frodo’s adventures.

Tolkien, by creating the maps first, created a landscape which seems to exist not only before the story, but is bigger than the story. When Frodo travels eastwards, for example, there is more of the Shire and beyond than that which he actually travels over. In our case, it was rather like someone laying track while driving a train over it. The tracklayer decides where the train will go, but, looking back, can see a landscape left behind as it moves on. In this way, the story and its landscape are written as they progress, and a narrative railroad is left behind on which readers may ride. And so, unlike Tolkien, by constructing a map this way, we appear to be providing primarily a view from the track itself. If there’s more landscape, we can only know it from the map we’ve constructed afterwards.

With the previously-drawn map, we can see the journey, in contrast, from a bird’s eye view.

But this leaves us with a question: is it best to construct a bird’s eye view first, then to lay the track, or to lay track and then to look back?

This brings us to a second question: by either method, how does one make a fictional map credible?

MTCIDC,

For an example of simultaneous train-driving and track-laying, see Wallace and Gromit, The Wrong Trousers.

Sequels and Prequels

05 Monday Jan 2015

Posted by lebedusya1 in Narrative Methods, Research, Terra Australis, Writing as Collaborators

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Collaborating, Fantasy, Fiction, History, Writing

Dear Readers,

Welcome, as always!

As we put the finishing touches on Across the Doubtful Sea (we’ve just realized that we need to have a title on the spine for the print version—oh, and a bar code on the back–yep, the things we never thought about when we were reading someone else’s book), we’ve already begun work on the second in this series, entitled Empire of the Isles.

So, where are we going in this book? Logically, you might say that we should continue in chronological order, begin the second book where the first concluded. After all, at the end of the second book of The Fellowship of the Ring, JRRT didn’t double back into earlier times to the previous defeat of Sauron in which he lost finger and ring and gradually work up to Gollum, to Bilbo, to Frodo . Elements of the past of Middle Earth, of course, appear everywhere in the text, often in geographical features like barrows, the Greenway, and Weathertop, very much the way the past was always present in JRRT’s England in barrows and stone rings and Hadrian’s Wall and castles and the ruins of monasteries. For us, this is one of the book’s great attractions and strengths . The specific past of the ring itself appears in “The Shadow of the Past” (with its resonant title, suggesting not only that the past casts a shadow upon the present, but that, involved in all, is The Shadow—Sauron) and “The Council of Elrond”, chapter 3 of the first book and chapter 2 of the second.

But is that where we want to go?

And, the answer is, no. Instead, we’ve decided to go into the past, but not just in flashbacks or explanations. As we wrote Across, we found it necessary to make reference to earlier events, but this was always done in bits and pieces, where needed for the present narrative. (No spoiler alert here—although this makes an interesting challenge in essay-writing for us: how can we discuss that narrative without too much specificity? How can we inform but tantalize at the same time?) Suppose, however, that we wrote a second book whose plot was based entirely upon events which had happened before Across.

We knew from Across that our main male protagonist, Antoine de St. Valerien, was in the Calm Sea (our Pacific) in part in search of his father, Lucien de St. Valerien, who had disappeared there on an earlier mission. Instead of fragmentary glimpses of his father and his doings, as was the case in Across, why not make the whole next book about him?

As we have written in an earlier posting, a basic premise of our trilogy is that Terra Australis, the southernmost continent which explorers and cartographers and sometimes corporations and governments once believed existed , is, in fact, real. (For those of our readers who would like to know more about this idea, we recommend: William Eisler, The Furthest Shore: Images of Terra Australis from the Middle Ages to Captain Cook, David Fausett, Writing the New World: Imaginary Voyages and Utopias of the Great Southern Land, Glyndwr Williams, The Great South Sea: English Voyages and Encounters, 1570-1750, among many other interesting works.) In our contemporary world, this is Antarctica, of course.

In this alternative world, however, it is not an endless sheet of ice which covers a land mass of rock, but rather the place which those earlier explorers and others believed it to be, a country with a mixed climate, fertile land, and growing seasons. In our imaginary world, however, things are changing, owing to the influence of the people who live at its center, the Atuk, and to their god, Atutlaluk, whose power lies in cold and whose chief followers can mobilize the elements of winter against their enemies. Opposed to the Atuk are the Matan’a’e amavi’o, a Polynesian people who have long inhabited a string of a dozen islands to the north and who have more recently colonized the western fringe of Terra Australis.

Much of this was already in place in Across, but now we could use this second novel to fill in so much more: the history of colonization, the beginnings of the war between the Matan’a’e amavi’o and the Atuk, more about the Atuk, who they are, where they come from, all as a background to the story of Lucien and the part he plays in the greater narrative of the struggle between these peoples.

As we write Empire of the Isles, we’ll do what we’ve done for Across and invite you into the literary equivalent of backstage, in hopes that you’ll enjoy knowing more about where it all comes from and how it all comes about.

Thanks, as always, for reading.

MTCIDC

Delay (not Belay)

30 Tuesday Dec 2014

Posted by lebedusya1 in Research, Writing as Collaborators

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Tags

Adventure, Collaborating, Exploration, Fiction, Publishing, Research, Self Publishing, Writing

Dear Readers,

We had hoped to publish Across the Doubtful Sea at the beginning of December. It didn’t happen. Why?

We had the manuscript . Its 52 chapters had been through two complete drafts and many little subdrafts, along the way, by mid-November.

If we had been willing to be part of the older book-writing world, we would now have begun the long and painful process of trying to interest a publisher (through an agent, if we could persuade one to take us on, or not, which was much more likely). Because we decided to publish the book ourselves, however, we entered a new and even more complicated universe, in which we were not only authors, but editors, sub-publishers, and publicists, as well. It has provided a wonderful “behind the scenes” education, but it has taken a good deal more time that we had ever imagined.

We were still in the editing stage when we decided to become publicists. That way, we hoped to begin to build an interested audience some months before the appearance of our first book. “So we need a blog,” we said to each other, “and Facebook. And Twitter. To start.”

WordPress provided the basic blog, for free. (Without sounding like we’re receiving a commission, we can also recommend them enthusiastically: very smart, creative people and very easy to deal with.) The basic blog, however, suggested that, if we were serious, and looked upon our work as part of a greater commercial enterprise (our 19^th-century author ancestors, like Scott and Dickens, would certainly have said that it should be and that, while art for the sake of art was nice, profits were nice, too), we would need a “domain name”. This would then allow us to list ourselves as http://www.Doubtfulsea.com. So we bought—or, rather, rented–one, for a year (renewable).

Then, there was the matter of setting up the blog. Fortunately, one of us has electronic art at her highly-talented fingertips and, after a few tries, produced the beautiful site on which you are currently reading us. (Those tries included picking and replacing an appropriate background image, as well as type face—tricky against the image–and formatting.)

After that, we had to figure just how many posts we could do, balancing them against the rest of our lives. We had read about people who began a blog as a way of talking about a project and eventually found that time for the project was gradually completely consumed by the blog, so we decided that we would do one post per week—but—every week, without fail. So far, we’ve managed to do this from the very beginning: this is post #16 and it will even appear during Christmas week. (Readers who currently struggle to maintain blogs have our permission to roll their eyes and say, “Just wait!” under their breaths, if necessary.)

Then there was Facebook, which came a little later. It was easy to set up, as it was more basic, but it came with the same hunger for posts. The point was exposure, of us and our ideas and thoughts and experiences. This meant, we decided, doing what we were already doing with our blog and so we were committed to two posts per week, one for Doubtfulsea.com and the other for Thedoubtfulseaseries@facebook.com.

So that we didn’t repeat ourselves, we decided that the blog would deal specifically with the Doubtful Sea series (including the other two planned volumes, Empire of the Isles and Beyond the Doubtful Sea) and further books in other series (we already have a complete first draft of one and half of another). We would devote our Facebook page to essays and discussions about reading and writing and creating in general—ours and other authors’.

At the same time, we added Twitter. This was—and is—much trickier. The common wisdom was that you should use it to advertise only 20% of the time and devote the rest to catchy sayings, thoughts, and images from our daily lives. So far, we feel that we haven’t used it enough for anything and, once the book is actually published, we’ve decided to do a lot more research in how to employ it more successfully.

Then we thought the manuscript was ready for the next step.

We are fervent book people, and one of us has even written a scholarly article on a 19^th-century Irish poet publishing his first book (a disaster and most copies were eventually recycled for trunk linings), but we had no idea of what we were getting ourselves into.

As modern people, we began with internet research, of course. We typed in “self-publishing”, and quickly discovered that there were multitudes of people eager to help us out there, some for a price, others for free, others for free, but with sales pitches thrown in. We quickly learned, however, that there was a longer process ahead of us than we had ever thought.

First, after surveying the field of self-publishing services, we decided that we would use Amazon, in part because of its access to Kindle, in part because of its liberal profit-sharing policy. (A hint: if you are following our path, be sure to do a little extra research, when you do your googling to pick a publisher, and type in “reviews of ________________________” to try to provide a more balanced view than the self-publishing service is willing to provide.)

Advice from various sites had convinced us that we needed to have an ISBN. Why we—or anyone—might need it would require a separate post, but, in brief, it forever identifies the book as yours, as well as providing potential sellers with a convenient stock number, among other reasons. Only one is needed per book, but, if, as in our case, we wanted to use e-book form, as well, then we needed two—and, if we wanted it available on other media, like phones, we would need more. The main supplier, Bowker, has a deal for a pack of 10, and we decided to use that.

On the actual formatting of the book, we’ll refer you to the upcoming post on our Facebook page, which talks in some detail about everything from proofreading and correcting to number of words on the page to placement of the text on the page. We will say something about the cover, however.

We were doing research on Pacific exploration when we happened upon the work of William Hodges, who was the main artist on Captain Cook’s second Pacific voyage. We quickly realized that one of Hodges’ paintings, often called “The Waterspout”, was absolutely perfect. We traced it to the National Maritime Museum in London, inquired, and found out how to rent the image (dealing with the very kind and helpful Emma Lefley, who is the Image Librarian—what a wonderful job!). It had to be formatted to become the front and back covers, of course—but see our Facebook page for that.

We said, at the beginning of this post, that we had had a “behind the scenes” education. And that it had taken more time and energy than we had ever imagined. It would be more accurate, in fact, to say that we are continuing to have that education. We had known about the back-and-forth aspect of author and publisher and its complications from the experience not only of 19^th-century authors, but also from the correspondence of Tolkien and Unwin from 1936 on, but there was so much more. A professional publisher would handle renting the cover image, the actual physical creation of the book, and the advertising, all of which is now in our hands. Sometimes, it has seemed like more work than writing that first novel, but it has, on the whole, been a wonderful experience and we’ll be talking more about it in future blogs.

Thanks, as always, for reading!

MTCIDC

Frigates

16 Tuesday Dec 2014

Posted by lebedusya1 in Heroes, Military History, Research

≈ 3 Comments

Tags

Adventure, Exploration, French Navy, Frigate, History, Napoleonic, Research, Royal Navy, Sea, Warship, Writing

Dear Readers,

Welcome, as ever.

In this post, we want to add a bit more about the ship used by our European protagonists and antagonists, in the Doubtful Sea series, the frigate.

For a brief but convenient history of the vessel, see en.wikipedia.org/wiki/Frigate, but, in short, as you can see, a frigate is a three-masted warship.

Unlike the bigger ships, those used in the large-scale fleet actions

like HMS Victory

or its French counterparts

their armament was much lighter, ranging in number of guns from the upper twenties to the low forties. Here, for example, is a French forty-gun ship.

And a comparable English one.

These ships were designed to be fast and maneuverable, acting as scouts for fleets of the bigger ships, but also as warships on their own, in blockades and in actions against enemy ships of about their own class.

After the American Revolution, the United States Navy began with six of these frigates, including the USS Constitution.

(For a useful article on these, see en.wikipedia.org/wiki/Original_six_Frigates_of_the _United_States_Navy. On these ships and others, see Mark Lardas, American Light and Medium Frigates, 1794-1836 and American Heavy Frigates, 1794-1826, For US frigates from their inception through the War of 1812, see Henry E. Gruppe, The Frigates.)

First in fighting the Barbary pirates off the North African coast and then against the British Royal Navy in the War of 1812, these ships and their captains and crews earned the new navy a reputation for seamanship, gunnery, and their sound design and construction.

(For the US Navy in the wars against the Barbary pirates, see Gregory Fremont-Barnes, The Wars of the Barbary Pirates, Richard Zacks, The Pirate Coast, Mark Lardas, Decatur’s Bold and Daring Act, and Frederick C. Leiner, The End of Barbary Terror. A recent popular history of the US Navy in the War of 1812 on the high seas is Stephen Budiansky, Perilous Fight.)

As far as we know, there is only one of the larger ships which survives: HMS Victory, in Portsmouth harbor, on the south coast of England.

There is one original US frigate, the USS Constitution, which is located in Boston harbor. It is still in commission, being the oldest ship in the US Navy. See the website: www.history.mil/ussconstitution/index.html for further information.

In the UK, there are two frigates, HMS Trincomalee,

which may be visited at Hartlepool. See the website at: www.hms-trincomalee.co.uk.

And HMS Unicorn, its sister-ship. The Unicorn is unusual in that, unlike the Trincomalee, is has not been restored as an active warship. Instead, it has been brought back to its state when it was out of commission and stored (said to be “in ordinary” in naval language) to be used as a store ship—or even a prison ship, like these, in Portsmouth harbor.

Here’s the Unicorn—

You can find out more about it at its website: www.frigateunicorn.org

There is one more frigate, one we have mentioned briefly in an earlier post. It is not an original, but a very impressive reproduction, the French frigate L’Hermione.

For an English-language website on this very impressive ship, see: www.hermione2015.com.

We hope that you’ve enjoyed this post. Within the next week or so, we expect to have the first novel in our series, Across the Doubtful Sea published on Amazon/Kindle. If you find our posts interesting, we hope that you find our novel even more so!

As always, thanks for reading.

MTCIDC

Research

09 Tuesday Dec 2014

Posted by lebedusya1 in Narrative Methods, Research, Terra Australis, Writing as Collaborators

≈ 1 Comment

Tags

Exploration, Fiction, French Navy, History, Napoleonic, Research, Royal Navy, Sea, South Pacific, Terra Australis, Warship, Writing

Dear Readers,

Welcome, as always.

In this post, we want to talk a little about research. We’ve already shown you bits and pieces of what the world of Terra Australis and its peoples look like to us—and we hope to you– but we want to add a bit about some of our sources.

As we’ve said in an earlier blog, the idea of setting our Doubtful Sea series mainly in the Calm Sea (Pacific in our world) and on Terra Australis (which only exists as the forbidding Antarctica for us), was just a lark, a spur of the moment thing. We had already known a little about the French admiral and Pacific explorer, de Bougainville. Most of what we knew about him, however, came from his early career as an aide de camp to the Marquis de Montcalm, the commander of French regular troops in New France during the bulk of the French and Indian War (1756-59). (He left behind journals of that time, which have been published in English as Adventure in the Wilderness, translated by Edward P. Hamilton and published by the University of Oklahoma Press.)

And we were aware of Captain Cook, who was also involved in that war and even must have sat across the St. Lawrence River from de Bougainville at the siege of Quebec, in 1759, although neither would have been aware of the other at the time.

So what then? Lots of conversation first, based upon nothing more than our imaginations. Who would our characters be? Where would our characters go? What might happen to them?

As we talked, we began to see that, now that we had a very general idea of the beginnings of a book—and, soon, a series– we needed to know more—lots more. And here was where our plan to base our new, alternative world on the actual later 18^th century of the actual world quite easily supplied a great deal of useful knowledge. We embarked upon a period of research even as we began to write a draft of the first chapters.

Because we knew so little, our questions to ourselves could have seemed as endless as the Pacific to those first explorers, but we quickly found that they could easily be grouped into a small series of main categories:

18^th-century European Pacific exploration
the French and English navies of the time
the history of Polynesian exploration and colonization of the Pacific
Terra Australis/Antarctica
languages/cultures as models for Pacific protagonists/antagonists

And this research quickly proved helpful in two directions. First, it began to answer our questions about the 5 categories. Second, the answers would inspire us, not only to ask further questions, but to further creativity.

It was important, however, to feel a certain wariness about research. One of us, some years ago, began work on a novel, called Swallows Wintering, set during the American Revolution. Chapters were written, and things seemed to be humming along, but then there was a question and everything stopped for more research. And more research. And then everything stopped for good. Insecurity triumphed, perhaps? A lack of conviction disguised as a need for further sources and greater “authenticity”? (And here we might want to consider just how much “authenticity”—maybe “accuracy to the time” would be a better way of saying this—one needs even in an historical novel. You don’t want to have an Elizabethan using safety matches, as we once read in a mystery set in the late 16^th century, but, perhaps it’s possible to suggest a period without being slavish about it? This is, we think, worthy of a long essay on its own!)

With that previous experience in mind, perhaps it was just as well that we decided not to write an actual historical novel, although we can certainly see that there are lots of possibilities there (we might cite our ancestor-collaborators, Nordhoff/Hall, and their series on the Bounty mutiny and its consequences, for an example). By making this an alternative world, we could use whatever we liked from our world, but never feel quite so bound as one might in a work of historical fiction.

We are both very visual people (and, we suspect, so is our audience), so, as we wrote and assembled a little library of what appeared useful books, we really began by spending hours on Google images. We searched for everything from “Antarctica” to “Versailles”, from “catamaran” to “frigate”, from “Cape Horn” to “Captain Cook” and much more besides, gathering several hundred illustrations, a few of which have appeared in our previous blog entries. (And one of which will appear, thanks to the good folk of the National Maritime Museum in London, on the cover of Across the Doubtful Sea in just a week or two.)

As well, we extended our on-line research to include articles on Polynesian and Inuit history and languages and cultures, the religions of the Pacific, the writing system of Rapa Nui (Easter Island), along with material on real Pacific explorers like La Perouse and Wallis, and the bibliographies attached to those pieces gave us more ideas for further research. (We are aware, of course, of the danger of unsubstantiated or even wrong material on the internet, but, because we were—and are—engaged in work s of alternative- world fiction, rather than historical scholarship or even historical fiction, this was not an active concern.)

In our own reading, we very much enjoy learning about earlier authors and how they wrote their books. And so, in these posts, we want to provide you, our readers, with information which, before you read our first book, we hope will entice you to do so and, after you’ve read it, will help you to see something of how we wrote it.

We intend, after Across the Doubtful Sea appears, to include a complete bibliography—including a list of websites and their addresses we found useful or just too interesting not to read (and everyone who surfs the web knows the dangers of this)—in our blog, but, for now, here are a few books we found particularly stimulating/useful. As we said in an earlier post, we experienced some difficulty in our research, owing to the period in which we were working, the 1750s to about 1790. There was plenty of material for the Revolutionary and Napoleonic Wars, 1793-1815, but much less easily available for this earlier time. Our advantage in alternative writing, however, stood us in good stead here: we didn’t feel that we had to be accurate down to the last fact, and we could use what we learned from this slightly later time to flesh out what we could discover of the earlier time. So, for example, the Osprey books on Napoleonic naval wars—books like Terry Crowdy’s French Warship Crews 1789-1805, or Gregory Fremont-Barnes’ Nelson’s Officers and Midshipmen and Nelson’s Sailors, or Chris Henry’s Napoleonic Naval Armaments 1792-1815–proved very helpful in getting a general sense of life on board the warships of that world. We would add, from a Time/Life series, Henry Gruppe’s The Frigates, as well as books like Iain Dickie et al., Fighting Techniques of Naval Warfare 1190BC to the Present, Nicholas Blake and Richard Lawrence’s The Illustrated Companion to Nelson’s Navy, and Brian Lavery’s Nelson’s Navy.

As for Pacific exploration, an easy read is Alistair MacLean’s Captain Cook (with Peter Beaglehole’s more scholarly work for those who want to learn more). For two different views of its consequences for the native cultures and peoples , we would recommend Alan Moorehead’s The Fatal Impact: The Invasion of the South Pacific 1767-1840 and Bernard Smith’s European Vision and the South Pacific. For a more general view, we would add the relevant portions of Erik Newby’s The Rand McNally World Atlas of Exploration.

This has been a long entry, and we never intend to overwhelm our readers, so we’ll end here for the present, with promise of more, both on books and on websites, in our next.

Thanks, as ever, for reading.

MTCIDC

doubtfulsea

~ adventure romance fantasy

Category Archives: Research

Mathoms and Fathoms

Like Smoke From a Fire: Sharkey’s End

Pyle of Pirates

Tracking

Sequels and Prequels

Delay (not Belay)

Frigates

Research