Can a Historical Novelist Do Too Much Research?

I once read that before beginning a historical novel, authors must immerse themselves in the history and culture of the period until they are essentially living there. I have often taken this admonishment to heart in my historical writing.

I love history and actually enjoy doing historical research. I like to root out the exact details of how history unfolded and later subject my characters to events as they really took place. This requires a lot of digging around in both the Internet and into printed material. I especially prize first-hand accounts by people who experienced the times about which I write. Sometimes, I buy used copies of the actual books to gain access to the information I seek. I recently purchased BARBED WIRE SURGEON, the memoirs of Dr. Alfred A. Weinstein, MD, a surgeon who served in the jungle hospitals during the defense of Bataan in 1942. When I write about my Navy Nurse protagonist working in these hospitals in my current project, ENDURE THE CRUEL SUN, I have the advantage of the point of view of someone who was there at the time. Nothing I could make up would be as horrible as the circumstances that actually took place.

My worktable is typically piled high with reference books. I also like to write on my big IMac desktop with my MacBook Air opened to Internet references beside it. When I need to insert a detail, I can usually get to it very quickly.

Lately, I have begun to believe that it is possible to do too much research. I am currently dealing with the Battle of the Coral Sea. This is not an easy battle to come to grips with. American Vice Admiral H.S. Duckworth described one day of the battle as, “Without a doubt…the most confused battle area in world history.” My challenge was to explain these circumstances to my readers in an interesting and entertaining way. (After all novelists are in the entertainment business.) I found myself reading Internet articles for hours, clicking on one link after another to dig for further details. Each question I answered seemed to raise several more. This created a problem as it broke the rhythm of my writing. I realized that I was actually enjoying my research too much. Research is, after all, a means to an end, not the end itself.

I recalled the old writer’s saw, “Don’t let the facts get in the way of a good story.” The story is paramount. The historical details are but the background against which the tale is set. I have to keep drumming this point into my head.

I’m trying now to limit my research to that necessary to get my basic story down in writing. I can always dig deeper during the rewrite and editing phases if I find that I need more detail.

I hope to soon get myself fully back on track, spinning stories of bombers diving on enemy carriers and submarines landing commandos on Japanese held islands. The yarn is all there, spinning around inside my head. All I have to do is get it down in type.

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Warren Bell is an author of historical fiction.  He spent 29 years as a US Naval Officer, and has traveled to most of the places in the world that he writes about.  A long-time World War II-buff, his first two novels, Fall Eagle One and Hold Back the Sun are set during World War II.  His third novel, Asphalt and Blood, follows the US Navy Seabees in Vietnam.  His most recent novel, Snowflakes in July, is a Pentagon thriller about domestic terrorism.  He is currently working on a new novel, Endure A Cruel Sun, the sequel to his best-selling novel, Hold Back the Sun. For more about Warren Bell, visit his website at: wbellauthor.com or see him on twitter @wbellauthor.

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Keeping Focused While Wrapping Up a Book

I am a lifelong fan of newspaper comic strips. When I was a young man, the comic strip characters with whom I identified were Steve Canyon and Buzz Sawyer. For those too young to remember, Steve was an Air Force aviator, while Buzz was a Navy test pilot. Today, however, I have more in common with Earl Pickles, a retiree who lives with his longtime wife, Opal. They are creations of the artist, Brian Crane, and the strip is entitled, Pickles.

One recent strip which I found entertaining opened with Opal coming into the room with Earl and saying, “I thing I’m getting the ‘but first’ syndrome.” Earl perks up and asks, “What’s that?” “You know,” Opal continues. “I start to do something but then decide to do something else first. But then I decide to do something before I do that. Pretty soon, I think of so many ‘but firsts’ that I forget what I started out to do originally.” “Whee!” mumbles Earl, wiping his brow. “I was afraid you were going to start walking around backwards.”

As I press forward to wrap up my new Vietnam novel, Asphalt and Blood, I fear I’m suffering from the “but first” syndrome. My mind should have a laser-like focus on the tasks remaining before the book can be launched. Instead, my attention keeps drifting to future writing projects. New characters, situations, and plot lines keeping popping into my head uninvited.  Two new series are trying to take over my mind.

I have dealt with this problem before. In my days as a U.S. Naval officer and municipal engineer, I began many writing projects. I would get to a certain point, and then work situations would require that I lay writing aside for a while. When time again became available, my mind tended to leap off on some other idea to write about. Only when I retired from my engineering jobs did I find the self discipline to see a novel through to the end. After I thought I had completed the manuscript for Fall Eagle One, I convinced an agent to take it on. Three extensive rewrites transpired before the book was ready to shop to publishers. Early 2002 proved a tough time to sell a book about aircraft attacking the continental U.S., so I had to have patience and wait for a better world situation.

Self discipline is required to get any writing project into print, especially for the Indie author. Doing everything that an agent and publisher’s editor do for the conventional writer can be a daunting task. Manuscripts must not only be well written and cleanly presented, but modifying formats for the Internet is also required. Covers must be designed or procured. Short, attractive descriptions of the work must be written. Internet publisher’s applications have to be precisely filled out and entered.

Just as important, one must have a strategic plan for marketing the new work. Teaser advertisements on social media need to be scheduled weeks ahead of publication to build up pent-up demand. Blog posts remain to be written, websites updated, new business cards printed. A site for launching must be chosen and scheduled far in advance. One must not forget press releases, both on the work itself and on the launching.

So I tell myself, “Suck it up, Bell! Get Asphaltand Blood on the street before you go off chasing a new idea. Those new characters and plot lines will not fade completely. They’ll still be there when the time comes to exploit them. In the meantime, get your nose back to the grindstone! As Snuffy Smith used to say in the comics, “Time’s a wastin’.”

Balancing Accuracy and Readability in a Story

My current writing project, Asphalt and Blood, has reached the editing stage. The book follows the adventures of U.S. Navy Seabees during the 1968 Battle For Hue City. For the uninitiated, Seabees is a nickname for the famed Navy Construction Battalions formed during World War II to build advanced bases in the Pacific islands and for the war in Europe. Without the airfields, port facilities, and support facilities they constructed, neither the Pacific island campaigns nor the amphibious invasions in Europe would have been possible. On Iwo Jima, Marines put up a sign that read, “And when we reach the isles of Japan, with our hats at a jaunty tilt, We’ll enter the city of Tokyo, On roads that the Seabees built.” Seabees proved equally as crucial to the war efforts in Korea, Vietnam, Desert Storm, Iraq, and Afghanistan.

My wife and primary editor, Annette, is pouring over the work with an eagle eye.  Several chapters in, her most frequent criticism to date is that I have used too much of what she calls, “Seabee-ese.”  In other words, she believes that, in striving for accuracy in conversations between my characters, I have used too many acronyms, technical terms, and slang that only a fellow Seabee can understand. Going back over my text, I can see that she is right.

Here are some examples. In describing earthmovers, I used the standard designations, TD-6 and TS-24, etc. The TD stands for, “tractor-dozer, ” TS for “tractor-scraper.” Every Seabee would recognize this immediately. Likewise, all Seabees would understand the designation of characters by their position in the battalion organization, such as “ALPHA-6” for the company commander of A Company, the horizontal construction force, or “S-3” for the Operations Officer.  While this is actually the way that Seabees talk, use of such terms without explanation or in narrative passages can be very confusing to other readers. 

An author must continually keep the target audience in mind. My target audience for Asphalt and Blood is not only Seabees everywhere and of all ages but also the general military fiction readers of my first two works, Fall Eagle One and Hold Back the Sun.  Sometimes, precise technical accuracy must give way to the ability of general readership to quickly grasp the story.  The key editing question, “Does this move the story forward,” must be kept continually in mind.

In making my first pass through the manuscript with Annette’s comments in hand, “TD-6” is becoming “bulldozer” or “dozer.”  “ALPHA-6” in narrative will be replaced by the character’s name.  Organization positions used in dialog must be carefully but succinctly explained. When I worked in the Pentagon, all documents had to be subjected to what was called, “the idiot test.” The question, “could anyone from the general population be able to understand what the document was trying to convey” had to receive a positive answer. I’m sure that a new name applies now because of “political correctness,” but the gist remains the same. If readers become bogged down with confusion over words, they will likely lose interest and stop reading. The author has failed.

All this brings up another related question, “Can an author be too close to his/her subject?” When the author is closely and emotionally invested in the story, especially when writing about personal experiences, the tendency to make it “just like it actually happened” can be very powerful. When writing fiction, these urges must be subordinated to clearly relating the story. The reader must be stimulated to anticipate every page turn to learn what comes next.

Re-writing and editing takes discipline that every author must learn to become successful. In most cases, the use of a professional editor may be necessary. I know that Fall Eagle One, my debut novel, is immeasurably better because of a professional editor. It’s becoming clear that Asphalt and Blood could benefit from similar treatment. I still have a lot of work to do.

Note: Warren Bell is a historical fiction author with two novels for sale either for Kindle or in paperback from Amazon.com. Both are set during WWII, with Fall Eagle One taking place in Europe, and Hold Back the Sun set in the war in the Pacific. 

The Agony of Rewriting

When I was at the 2000 Maui Writer’s Conference, I attended several classes conducted by successful literary agents on the writing and publishing process.  One theme kept recurring in all the talks: “If your manuscript is accepted by an agent, expect to have to rewrite it several times before submission to publishers.”  Many in the classes were alarmed at this revelation. Having studied James Michener’s Advice to Beginning Authors, I was not one of them. Michener did not consider himself a good writer, but he felt that he was an excellent rewriter.  He considered the secret to his runaway success to be his ability to pare and prune his drafts of extraneous material.

I was fortunate to come away from the conference with acceptance of my manuscript of Fall Eagle One by a very reputable literary agency. I quickly discovered that the instructors at Maui were right on target. Following initial discussions with the agent assigned to me, He recommended that I work with a private editor to rewrite my manuscript. The editor he recommended, Ed Stackler of Stackler Editorial Agency (stackler@aol.com), first read my manuscript and gave it a thorough critique.  Ed is an excellent editor. He pointed out many weaknesses, including some main characters, that needed correcting, not the least of which was my tendency to over-explain just about everything. 

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I am a product of my education. My first two degrees were in civil engineering. All engineers have a passion to understand how things work.  Many also are natural teachers who hunger to explain what they know to those around them.  For example, after I thoroughly researched the German system of defenses against the Royal Air Force’s nightly bombings, I thought my readers would like to know the exact details. Many of my carefully crafted descriptions bore Ed’s notation, “Excessive exposition-does not move the story forward.” That last phrase became a mantra for my editing and rewriting: “If it doesn’t move the story forward, cut or severely compress it.”

Such rewriting is easier said than done, and it can be painful. I think all authors view their work as parents view their children.  Discarding hours of hard research and writing takes great self-discipline. It hurt, for instance, to discard my careful description of Berlin’s massive flak tower/air raid shelters.  But after careful consideration, I had to agree with Ed’s comments. I cut one page to two sentences.  This process includes a careful balancing act. As I wrote in a previous blog post, the reader needs to be able to mentally visualize the story.  Or as the British say, “Put in the picture.” Sensory notations—how the scene looks, smells, tastes, etc.—are  necessary elements.  One needs the readers to feel that, “They are there.”  But always in the background must loom that question, "Does it move the story forward?”

Even more painful can be modifying or eliminating characters. After two or three rewrites, Ed kept questioning one of my major characters—Hermann Goering’s technical adjutant, who devises the scheme upon which the plot rests.  Ed felt he was “a cold fish,” and that he needed major change.  I was surprised by his proposal. I had based the character on an actual Luftwaffe officer who served on Goering’s staff.  But by then, I had come to completely trust Ed’s judgment.  I went back to basic research and soon discovered another actual person upon whom to base my character.  Thus was born perhaps the best character in Fall Eagle One: Major Siegfried von Rall, a swashbuckling frontline bomber commander rated as, “the best pilot in the Luftwaffe.”  Along with Siegfried came my strongest female characters: his mother, a Prussian countess, and his love interest, a woman physician.  Following this last rewrite, both Ed and my agent pronounced the novel ready to shop to publishers. 

Unfortunately, all our work fell on deaf ears at that time.  We were shopping the book in early months of 2002.  We soon learned that publishers were not ready to print a book about aircraft attacking the continental U.S. that soon after the terrorist attacks of 9/11/2001. Fall Eagle One had to be set aside for a more propitious time.

The story has a happy ending.  The Amazon Kindle version of Fall Eagle One went live in November 2011, and the paperback version on Amazon.com followed the next January.  The book was chosen as a Semifinalist in the Kindle Book Review Best Indie Books of 2012. It sold in the upper 1-2 percent of Kindle sales throughout 2013, and sales remain strong.  The book currently has 61 customer reviews on Amazon.com with an average rating of 4.5 out of 5 Stars. Thirty-seven of the reviews are 5-Star. The latest calls it, “One of the best WW2 books ever.” Hard work does pay off.  

Note: Warren Bell is a historical fiction author with two novels for sale either for Kindle or in paperback from Amazon.com. Both are set during WWII, with Fall Eagle One taking place in Europe, and Hold Back the Sun set in the war in the Pacific.   

Photo: Lord van Tasm at German Wikipedia [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0) or CC-BY-SA-3.0-de (http://creativecommons.org/licenses/by-sa/3.0/de/deed.en)], via Wikimedia Commons

WHY I’LL REMEMBER 2013

The newspapers during the last few days have contained many reviews of 2013. Many of them are gloomy.  The U.S. Congress remained gridlocked during the year, stumbling from one crisis to another. The government was forced to shut down for several days. Fights over the implementation of the “Affordable” Health Care Act dominated politics and the news. Nelson Mandela passed away. The giants appear all gone, and mere humans are left to grapple with the problems of our times.

2013 was far kinder to me. When the year began, I was struggling to market my little-known novel, FALL EAGLE ONE, about a Nazi attempt to kill FDR. Sales were very modest, and I had few ideas about how to spread the word about my book. But I had asked my daughter, Karen Williams, to help me mount an Internet marketing campaign as my Christmas present. In late winter, we began the effort.

I already had a Facebook page, but it needed a lot of updating. Then Karen introduced me to Twitter. As soon as I grasped the “expanding ripples” effect of Twitter, I took to it readily.  Carefully studying how successful authors were using the media, I realized that one had to widely publicize the works of other authors to get them to publicize mine. I began devoting over an hour per day to Internet marketing. Meanwhile, Karen was building an author’s website for me.

By April 2013, FALL EAGLE ONE had climbed into the upper one percent of Kindle sales and has hovered in that range for the remainder of the year. It has 43 Amazon.com reviews with a 4.5-star out of 5 average rating. I spend about an hour and a half a day on marketing, but it has paid off handsomely.

I completed my second novel, HOLD BACK THE SUN, in the summer of 2013. Another World War II yarn, my new work follows the adventures of two U.S. Asiatic Fleet lieutenants during the opening months of the Pacific War. Karen built a YouTube trailer, which appears on my website. We launched the Kindle version of the new book in early August, and it quickly began to sell. When Amazon.com subdivided its bestseller lists in autumn, HOLD BACK THE SUN appeared as #8 in the historical fiction/Asian category. It soon climbed to #3 and has been in the upper 10 all year. It has 28 Amazon.com Reviews with a 4.3-star out of 5 average rating.

My third book, ASPHALT AND BLOOD, is already in the works. It will tell the story of how the U.S. Navy Seabees aided the Marines during the Battle for Hue City during the Vietnam War. My target launch is for Labor Day 2014.

I shall always remember 2013 as the year I could truthfully add the title, “author,” after my name.

Note: Warren Bell is a historical fiction author with two novels released and for sale either for Kindle or in paperback from Amazon.com.  Both are set during WWII, with Fall Eagle One taking place in Europe, and Hold Back the Sun is set in the war in the Pacific. Karen Williams, Marketing for Authors specializes in Marketing and PR for Independent Authors.  She can be reached through her website or at karenwilliamsmarketing@gmail.com.

What Did You Do in the War, Mommy?

World War II was the last war in which whole populations were engaged in the struggle. Because the military required a large part of the male population to fill the combat ranks, women were called on in large numbers to fill support positions and keep industry functioning. Most Americans are familiar with “Rosie the Riveter” and film clips of hundreds of women working in factories. But many do not realize the vital contributions made by women who worked primarily with their intellect.

I was reminded of the critical role of women in WWII while reading last Sunday’s Washington Post.  The paper prominently featured the obituary of 92-year-old Mavis Batey nee Lever, one of the many women who worked at the “Government Code and Cipher School,” at Bletchley Park. Perhaps the best-kept secret of WWII, Bletchley Park was where Allied codebreakers deciphered and read the most secret radio signals of the German High Command.  For most of the war, Allied leaders knew exactly what the Germans planned to do ahead of time. Some historians believe that victory in the Battle of Britain hinged on the fact that RAF commanders knew

Luftwaffe bombing targets and schedules the night before.

Mavis Lever was recruited directly out of university for this top-secret work. Her fluency with the nuisances of the German language proved a priceless asset not only in translation but also in the codebreaking itself.  She is credited with predicting Italian naval movements in the Battle of Matapan, allowing Britain’s Mediterranean Fleet to savage Mussolini’s battle fleet. She also was instrumental in convincing Hitler that the Normandy Invasion was a feint.

The counterplot in my novel, Fall Eagle One, is set at Bletchley Park. The American protagonist is a German-speaking lawyer who performs essentially the same work as Ms. Lever. He works directly for an Englishwoman, an officer in the Women’s Auxiliary Air Force (WAAF). Somewhat like a police procedure novel, I explain how Bletchley Park functioned. The plans and orders of my German protagonist’s secret unit are laid bare to allied commanders, but they do not discern that the German mission is to kill FDR.  

Intelligence was not the only field in which women worked with their brains. Both the RAF and Luftwaffe filled their air defense control centers with women. Those who have seen the movie, The Battle of Britain, will recall that WAAF personnel almost exclusively staffed the sector stations shown in the film.  Nurses saved the lives of countless military combatants of all countries. Women also contributed in many logistics positions.

When we remember the “greatest Generation” and its achievements, we must always remember that not only the men beat the Axis. Countless women contributed their brains and their brawn to final victory. 

Note: Warren Bell is a historical fiction author with two novels released and for sale either for Kindle or in paperback from Amazon.com.  Both are set during WWII, with Fall Eagle One takes place in Europe, and Hold Back the Sun is set in the war in the Pacific.

Getting Technical Facts Right in Fiction Writing

While enjoying a fairly new mystery thriller set more or less in the present, I read about military guards being armed with M1 carbines. This was something of a jolt for me, because I know that the early Vietnam years were the latest that U.S. armed forces regularly used this weapon. In many other novels, some by highly popular authors, I often discover similar anachronisms, such as placing in WW2 fiction weapons not then developed. I’ve seen some authors use the words revolver to describe all pistols. I have found many other questionable technical details in popular fiction. For some reason, this really bothers me, especially because the right information is so readily available today on the Internet.

I believe an author has a responsibility to make his fiction as plausible as possible. Getting the details right is essential to complete plausibility. For knowledgeable readers, and there are hoards of them out there, hitting an obviously wrong detail interrupts the flow of the prose and may cause irritation. This isn’t a good reaction for the author.

Before penning both of my novels, a spent many hours in exhaustive research. When I first began writing, this required lots of time in libraries. I treat research as a puzzle, digging for the answer I want until I discover it. Only when I’m convinced that I’m on firm ground do I plunge ahead with the writing.

The dogfights in my new novel, Hold Back the Sun provide an example. My Dutch protagonist, Captain Garret Laterveer, is flying an obsolescent Brewster Buffalo against modern Japanese Army (IJA) and Navy (IJN) fighters. I read everything I could find both in print and on the Internet about the actual experience of Dutch pilots early in the Pacific War. Surprisingly, some of them had success, especially against the Army Nakajima fighters in Malaya. The IJN Zeros were another matter. At the time, this aircraft was probably the best fighter in the world. Yet some Dutch pilots did shoot them down. In my research, I found that the Brewster aircraft had a number of the same strengths and weaknesses of the P-40 fighters used successfully against Zeros by the Flying Tigers. Applying artistic license, I allowed the Dutch to use Flying Tiger tactics.

I know the old saw, “Never let the facts get in the way of a good story,” and I have used it myself to alter history to make the plot go the way I want it. However, I do not believe this justifies incomplete research. Our readers deserve our best efforts.

Birth of a Novel

Yesterday, we successfully launched the paperback version of my new novel, Hold Back the Sun. This was my first experience of a formal launch event, but I really enjoyed it. After reading several passages that introduced the main characters and set the tone for the story, I invited the guests to ask questions. Several people asked, “How long does it take to write a novel?”

The answer to this question varies with individual books. Like mammals, different novels have different gestation periods, varying by size. Gerbils take about 25 days from conception to birth; cats require about 64; Horses, 340; African elephants, 645. In similar fashion, the bigger the book, the longer it takes to complete it.

My first published novel, Fall Eagle One required about three years from conception to final draft. The nature of my writing requires somewhat exhaustive historical research. Having the Internet available was a Godsend to my research. Actual writing took a little over a year, while editing and rewriting under the guidance of a skilled editor required several more months before we were ready to shop the manuscript. 

Hold Back the Sun took a little longer. My interest in the exploits of the U.S. Asiatic Fleet early in WWII was sparked in the mid 1960s by reading John Toland’s popular history, But Not in Shame. In the late 1970s, I read The Lonely Ships, Edwin P. Hoyt’s history of the Asiatic Fleet. The germ of an idea for a novel started tickling my mind. I was on active duty in the Navy, so my time for exploring the subject was limited. Nevertheless, I began doing literary research and taking notes on the places I visited in Hawaii and Asia. I began serious writing about 1980 during off duty hours while serving a tour without my family. The result of this effort was a manuscript that was far too long to expect to be published as a debut novel. New writing ideas drew my attention, so Hold Back the Sun languished in my computer for several years. However, I was very attached to the story and always meant to publish it when the opportunity arose.

Once Fall Eagle One achieved some success, I decided to buckle down and rewrite Hold Back the Sun. Using skills learned from my editor, I pared the manuscript and completely rewrote the last third of the story. It took me about seven months of hard work to get to the point of publication. The success of the Kindle e-book (currently #6 in historical fiction-Asian) suggests that it was worth the effort.

Being in my late seventies, I no longer have the luxury of a taking a lot of time for my future works. Fortunately, I can now do most of my research by computer without leaving my desk. I plan to publish one new book every year for as long as I’m physically able.  I hope that my readers will continue to enjoy them.

Note: Both of Warren’s novels are Amazon Kindle Bestsellers Hold Back the Sun is #6 on historical fiction: Asian and #56 in action-adventure: war and military. Fall Eagle One is #56 on action-adventure/war and military.