Researching v. Writing and/or maximising your writing time

Researching vs. WritingSometimes life gets the better of us – looking for or starting a new job, the birth of a grandchild, even a scene that you can’t find inspiration for and your writing stalls. This is when those pesky hashtags come into their own.

You may only now be adding them to your draft. Ideally it is best to add them from the very first draft but better late than never, as the old cliche goes. See my earlier post. Either way you should now have a general idea of things you need to check. That’s when it’s handy to make lists and start borrowing books on those subjects when the writing isn’t flowing.

My local library know me as that strange woman who orders the oddest books on inter-library loans. Here’s four of my lists above. A lot of the books on the TO READ list will be interesting to skim through but they may not get rid of a single hashtag. They may, though, supply me with an idea or a possible scene.

I recently leafed through a marvellous book on Art Nouveau by Judith Miller. In it I found a marquetry side table, a silk panel and a glass carafe with a bird on the lid. I also found an amazing lamp with a bird pattern on it, a sea green glass vase, a brooch featuring a two swans interlocked and a bronze nude seemingly wading through rushes.

In the book there were details of each item, the country of origin, the artist and the year. These details, of course, DON’T go into the manuscript. But they are a guide for me as to whether they are suitable or not. What goes in is what my character Sarah sees at Lilith’s flat or what the family might call treasured objects such as the lamp or the brooch. i.e the swan brooch and the bird lamp. Sarah might recognise some things of course – that a side table is marquetry but she is not a specialist on furniture and art of the art nouveau period, although this is the period her mother might have been doing a lot of buying for the family home.

Armed with this new information on furniture and objects, I dealt a death blow to three hashtags in Lilith’s apartment. One of the objects was a lamp. I then searched lamp in my manuscript and discovered another hashtag #acetylene lamp. After some quick hunting I decided what I really wanted was a kerosene lantern. Bingo, another # bites the dust. I then worked on a hashtag relating to an outdoor lamp. I googled a few pictures and chose a square lamp for a porch light and then on the spur of the moment got rid of #easy chair and replaced it with a walnut armchair. Six hashtags gone! That leaves 222 to go. Now back to that fancy dress ball.

Getting the facts right and/or those pesky hashtags


Image courtesy of Wikimedia Commons

Everyone is different of course and I’d love to hear how other writers do it. Mark their manuscripts where more facts need to be added or checked, I’m talking about. After the first draft of Tomaree I had over three hundred points to check. I can’t remember how I highlighted them. It might have been the first manuscript I began using hashtags but I know I had a long list that I wrote out and worked my way through over the next few drafts.

During the writing of Crossing Paths I had a lot of research assistants in the form of international bookcrossers. #site of traffic buildup in France after the tunnel from England? #popular make of car driven in Canada by an upwardly mobile young female executive? #the layout of Green Gables farm? One of my dear friends and bookcrosser Bill Staubi answered that one (and some other tricky ones) through emails and the forum at

Whilst writing one of the many later drafts of Tomaree I had a luncheon with some of the elderly female residents of Nelson Bay to check one or two pesky points. By this time we were firm friends and the conversation went something like this:

“So, one final thing. I’m just checking about letter boxes.” (The letters of my two young lovers were being passed in a letter box of Peggy’s neighbour, Sarah Linden, the main character in my current manuscript).

“Oh, darling, we didn’t have letter boxes in 1943.”

“What?” (Insert shocked expression on yours truly.) “What did you do about the mail?”

“We just picked it up from the post office, dear,” says another of my elderly ladies.

“So when did you all get letterboxes?”

(Insert animated conversation around the table. The consensus was 1946/1947 but definitely after the war.) I then had to rethink and rewrite how the letters would be passed/left between Peggy and Tom, her American GI boyfriend. I decided on a blue pot (from memory) that Sarah had around the side of her house.

With my last manuscript I Remember the White, a lot of my chasing the facts/hashtags has been chronicled in this blog and I seem to have been in tight control of all those pesky, time consuming points that needed to be checked. The main one that proved very frustrating and almost elusive, as Robert Watson will remember, was how to transport my heroine from Sydney to Salonika in late 1917. Submarines were making things very difficult so road and rail was involved.

With my current manuscript Paris Next Week in its first draft, I’m afraid I’ve been a bit blaze and as a consequence disarmed. This is a seemingly light novel told in the first person about two very wealthy girls, Sarah Montague and Louie Gilbraith who live in the exclusive suburbs of Elizabeth Bay and Darling Point in the 1920s. Lots of parties, beautiful clothes, stunning houses and the party to end all parties. Just the other day, getting near the final chapter or two of the novel, I thought I’d check the state of the hashtags. OMG! 214 and its only a 50,000 word manuscript! They must have snuck up on me. Just checked today. 228! They have been breeding. Well those pesky hashtags will have to wait until further drafts but more in my next blog.

Fiction writers as researchers and historians

Site of SWH camp from NW_-1

Site of SWH camp from NW – Photo courtesy of Nikiforos Sivenas

Yep! That’s what often happens to us historical fiction writers. We frequently become, by necessity, researchers and historians. Because I chose to write a novel set partly in Northern Greece and Serbia during the last 18 months of WWI, I am now fairly knowledgeable about the Scottish Women’s Hospitals, particularly the unit at Ostrovo.

Recently I started a page here on this blog to track the Australian women who worked with the Scottish Women’s Hospitals. With the help of other researchers and historians I have now updated the list.

The bulk of the list is made up of biographies from the tireless Alan Cumming at the Scottish Women’s Hospitals website. A number are also from Jennifer Baker’s Looking for the Evidence website.

I now have some more searching to do. A new friend Nikiforos Sivenas, whose very elderly father still remembers the women of the Scottish Women’s Hospital field unit at Ostrovo, has kindly supplied photos and a list of all the women who worked at the Ostrovo Unit. It will take me some time but I hope to search all the names to find out whether they are Australian or not. I also plan to read Australian Doctors on the Western Front by Robert Likeman and The Women of Royaumont by Eileen Crofton to locate more. I just need a few more hours in my day!

My Tips for Writing Historical Fiction

old typewriter

A little while ago Anthony Scully of ABC Open invited me to do a post on writing tips for historical fiction. It has been quite a journey working out my tips and whitling down my list to five. Along the way I contacted Justin Go, the author of The Steady Running of the Hour. His webpage details the research journey the writing of his novel took him on. I hope you enjoy my tips and would love to hear yours. Writing Historical Fiction.

My Adventures with the Scottish Women’s Hospitals

Scottish Women’s Hospitals Unit at Ostrovo – Source: Wikimedia Commons

I can’t believe that it’s nearly five years since I began thinking about a novel partly set in one of the field hospitals of the Macedonian Front. On Australia Day 2010 I did my first little field trip to scout for a family home for my main character. I walked Tyrrell and Wolfe streets that day but a month or two later decided on Mayfield, a suburb of Newcastle on the Hunter River. I barely knew a thing about the Macedonian front, that forgotten series of battlegrounds from WWI, but was determined to find out more. I skimmed through The Gardeners of Salonika by Alan Palmer, read up about the Australian nurses, orderlies and ambulance drivers who were there in Jan Bassett’s book Guns and Brooches. I also did more general reading about the war (including the excellent The Virago Book of Women and the Great War edited by Joyce Marlow) and found out details about the lives of not just Australian nurses but VADs.

My research into Australian VADs (Voluntary Aid Detachments – a sort of orderly, nurses’ aid and dogsbody) gave me information that turned out to be crucial to my plotting of The Grey Silk Purse. I actually had to change my storyline. In my early stages of research I decided my character Phyllis Summerville would become a VAD (her personality doesn’t lend her to the profession of nursing) and she would soon after be posted to France in the thick of all the fighting. WRONG! Australian VADs remained in Australia, working at hospitals looking after shell-shocked and disabled Australian serviceman, shipped home from the fighting. During 2010 I began interviewing residents about Mayfield after the war – obviously relying on memories their families may have passed down.

Through my research I met two very dear friends who helped me bring Mayfield to life – the late Helen Marshall and Vera Deacon, who is very knowledgeable about life on the islands in the Hunter River. In 2011 I decided to keep a blog of my struggles with the immense and intricate research that was needed for The Grey Silk Purse. On 16th June I wrote in my very first blog post: “At this stage it looks like my main character may be working at one of the Scottish Women’s Hospitals.” I had been inspired after discovering about the amazing Olive Kelso King and decided, yep, my girl would be working at one of the field hospitals of the SWH – Miles Franklin’s field unit as it turns out.

In 2012 I had a lot of research points to sort out. For instance, discovering as many Serbian words as I could that my main character would have spoken. (She was given a small Serbian phrasebook after her ambulance driver training). What was her driver’s uniform like? In which battle did my character Adrian Langley lose his leg? Would my young maid sleep at Summerville, the family home where she worked or would she go home? Were the Summervilles wealthy enough to have a chauffeur?

Around this time I met John Vandenberg, a wiki adviser and user, who gave me a crash course and said that if I didn’t put the Ostrovo Unit up on Wiki, the likelihood was that no-one else would. That started the ball rolling. I added Olive Kelso King as well, Dr Mary de Garis and just recently Dr Agnes Bennett. I knew, with dismay that there was no wiki entry for the Scottish Women’s Hospitals at that time. For me, it was just too big an undertaking – although by this time I had read many books on the subject.

Luckily last year I discovered Alan Cumming’s website and he has done wonders in profiling the organisation, including travelling to Serbia. He has also been involved in a short film about the SWH. Last year Alan and I were able to work on the wiki entry for the Scottish Women’s Hospitals. I will be doing a biography on Kathleen Dillon soon. Although not Australian I relied quite heavily on her experience, as Head of the Transport Unit based at Yelak, for an important section in my manuscript. I am now actively seeking relatives of Australian women who worked for the SWH and will collaborate with Alan Cumming to get them up on his site. It has been a wonderful adventure discovering all about the Scottish Women’s Hospitals and I hope I can do more to raise awareness of this incredible and fascinating organisation. Please don’t hesitate to contact me. See this page for more information: Australians Working with the Scottish Women’s Hospitals.

How fiction/historical fiction can save historical fact

Barquentine City of Sydney – formerly steamer City-of-Sydney_SLV_Green, Source: State Library of Victoria Author: Allan C. Green 1878 – 1954

From oblivion is what I mean. One of my main aims in being a writer is to preserve little known facts and make them sing in my fiction. I might have touched on this before but there were two facts (above all others) that I wanted to preserve in Tomaree and that was to do with the US servicemen based in Australia. But let me start at the beginning.

Tomaree is inspired not just by a real life love story but by a fascinating time in Australian history when approximately half a million US serviceman were stationed in Australia during World War II. There are a lot of facts in Tomaree – details of the Fly Point camp, the way Nelson Bay used to be in 1942 (just a jumble of small shops) details of campaigns in the Pacific and much more. But the two facts, that may seem trivial, but I wanted to include are: 1. that the American serviceman hated all our loose change. They couldn’t abide it heavy and jingling in their pockets – the threepenny, halfpenny, pennies etc. As related to me by a Nelson Bay Resident, the soldiers would dig their hands in their pockets offer up the change to the nearest small child and say, “Here kid, buy yourself an icecream.”

No. 2 is that wherever the soldiers were stationed in Australia, it was common for local residents to send a small boy (never a girl from what I read in a history book on the subject) into the street looking for a Yank to invite him home to tea. My Amercan Signals Officer is approached by such a small boy but has to refuse because he already has a dinner invitation. I feel very privileged to have the means to keep these sort of little known but important facts alive for the reading public of today. It’s what motivates me to seek out historical fact (like many historical fiction authors I’m guessing) and weave it into my fiction.

In a strange way too, fiction also preserves historical facts for readers. For some time now I’ve been researching Sydney in the 1920s. There are actually not many non fiction books available on the subject. Frustrated, I turned my attention to fiction but wondered where all the female fiction writers were who were writing at that time. There didn’t seem to be many listed in anthologies and literary records. At first I thought there was simply no significant female authors writing during the first two decades of the last century. I have since read Dale Spender’s Writing a New World and discovered that is not the case. They have been deliberately left out of literary collections and reviews – but that’s another blog. In this one I want to highlight how I have found historical fact in fiction.

As mentioned I turned my attention to fiction to help me research the 1920s and luckily discovered Ethel Turner’s daughter Jean Curlewis. Last month I read her third novel Beach Beyond set near Palm Beach and written in 1923. This week I have just finished her first novel written in 1921 – The Ship That Never Set Sail. Here is what I have been looking for the last six months – a real, vibrant Sydney – the Sydney of 90 years ago!

Here she is writing about Darling Harbour:

“They were gazing right down on to the littered decks of ships – they could almost have dropped pebbles into the holds – they caught intimate glimpses of donkey-engines and capstans and flying bridges and fo’c’stle hatches at a proximity impossible at the Quay. The huge funnels towered up right beside them. They could count the cases and barrels and mysterious bulging sacks and great green clusters of bananas scattered on the wharves – gaze down into the dull green water, deep-hued as a peacock’s tail with a film of oil from some passing steamer. All the vast detail of the fifth port of the Empire was spread beneath their eyes: “the beauty and mystery of the ships”; all Darling Harbour stretching like a river between its vessel-teeming banks into the very heart of the city.” Marvellous and better than any history book!

There are also descriptions of White City, now long vanished, a ball on board a warship, something called a gypsy tea, the Blue Mountains when it was smaller and quieter with barely any cars on the road, and Pittwater. A wharf at Newport is mentioned and a pier “that ran out from a green garden full of white pigeons, scented verbena and mauve blue Love-in-a-Mist.” This is very near where I used to live but of course the garden is long gone. I’m so thankful to have found Jean Curlewis. Her words have been helping me to recreate in my mind another Sydney. I hope to track down more lost authors, to read, review and discover the Australia they lived in.

How to get distracted writing historical fiction and/or the girl on the beach

Source: ( Photo by Branger/Roger Viollet/Getty Images )

Girl on the beach 1925

Yes, it’s a serious problem for historical fiction writers when doing research – staying on track. In the 1980s I went through all the photography books (and there was a lot) at Dee Why Library. Of course I didn’t need to look at all the photos – most didn’t have anything to do with the manuscript I was writing but what the heck! Now with the net the problem is magnified 100 times over. The number of photos that are available is staggering. Google images, Instagram, Flickr, Trove – all waiting quietly (Hey, don’t mind me!) to lead you away from words on a screen/page.

In this instance Pinterest was the culprit. I had been googling 1920s clothes and pinning them on my board Research for my next novel. Pinterest, being very helpful, kindly said “You might like this!” and there was a board on the 1920s that I decided to follow. Some boards are small of course and only take a few minutes to glance over but occasionally I would find myself drifting away from my writing. You know how it is! I love that dress of Audrey Hepburn’s! And really, Warren Beatty was pretty good looking when he was young. Wow, I want to go to that French village right now. This sort of thing happens frequently when I’m on the net but no harm here! This board was on topic – the 1920s. I scrolled down through the images and there she was! Simply a girl on a beach, looking sad yet sort of posed at the same time. I was done for! My writing and research lost for the rest of the evening.

I found myself really studying the photo. Gosh, it does look posed. A publicity shot for a now unknown actress? A photographer friend suggested it was actress Edna Purviance, Charlie Chaplin’s leading lady in many of his films. I googled images of her and decided no, it wasn’t her. I then did a Tin Eye reverse image search. The one that was pinned on Pinterest had no name or details. Maybe another image might have more information. Tin Eye came up with 24 results and it appears the original photograph is a Getty image taken by the French photographer Roger Viollet with a title of “Swimmer on the beach of Deauville (Calvados), about 1925”. A location but no name!

I searched her face again. She really was very pretty! Maybe it was a lucky snap that became a bit of a hit and the damsel was pinned up wherever males congregate. I’m guessing she might have been extremely popular with the French Foreign Legion when the state of her chest was noticed! She is actually striking a pose similar to Farrah Fawcett in that that red swimming costume back in the seventies!

None of this helped me identify her of course and why is she sitting by herself? Is she waiting for someone?I believe she wasn’t an actress because I’m sure if she was, she would have been identified by now. I mean, how many photos do we view a day? Even when we aren’t researching, people put up posts asking please identify. Photos are multiplied over and over in vastly different locations. Gradually the dots are joined but not for the moment for my girl at the beach.

Three hours later after originally viewing her picture, my manuscript is pushed to the back of my mind. I have lost valuable time and asked unanswerable questions, such as: Who was she? Was she a model? What did she do with her life? She’s about the same age as my character. I wish I could chart her life through known facts so that I can have a few signposts for my girl; be made aware of what it was like to be young and beautiful in the 1920s.

She has led me on a merry dance but then I stop and look at her once more. Actually she hasn’t. I’ve only just realised why she caught my attention in the first place. She has abundantly thick and wavy hair – auburn, I’m guessing, just like my main character Sarah Montague’s. I haven’t lost time. Here is a real life sister for an imaginary young woman that I need to return to.

Searching in the past for that indefinable something

Denison Street Darlinghurst

Darlinghurst 1924 from the Demolition Books

I think we’ve all done it as some stage and not especially in the past – spent time looking for something, not knowing what that something is! What exactly am I looking for, we ask ourselves. We stop for a moment, think about it and then begin again none the wiser.

I’m searching in Sydney’s way back past for either an old house that has been turned into a block of flats or perhaps a particular row of terrace houses. I’ve been gazing at photographs of the old villas of Darlinghurst at this wonderful website, My Darlinghurst. I’ve also been looking at certain streets, especially Darlinghurst Road. The City of Sydney Archives are great for that purpose, particularly the demolition books. I stumbled on their existence when I was looking for cafes in 1924. (I still need a small one in Pitt Street.) I will shortly begin searching the 1,866 Darlinghurst images here.  I should surface in a week or so.

My search for the perfect flat for Raye Reynolds my doomed artist is starting to get frustrating but I know what the problem is – I want not just her flat but something of the street as well. Maybe just down the road is the Kings theatre, or a park where she goes sketching or a cafe where she scrapes together the money for a pot of tea. So I know I’m looking for a flat plus something else. I’m hunting for a detail that will help fix the flat in the reader’s mind. Maybe its a massive frangipani tree out the front. Now that’s a thought! Or maybe something else.

I wasn’t sure what that indefinable something was when I was researching the Ambassadors Cafe late last year. See this post. I knew I was spending too much time researching but my writing was stalled. I found out where the cafe was, what it looked like and the band that played there in in early 1924 (the last detail I didn’t even end up using). The very last thing I found out before the scene almost wrote itself was that there were private rooms off the main dining area! Private saloons! I put my six characters in the private room. Even worked out who sat where. There were introductions as a few didn’t know each other. They sat down at the oval table, began to talk and the chapter was away!

Think of me as I disappear in the demolition books. I’m sure I’ll come back with something interesting!


I can’t keep up with my characters!

SwainsLast week my two young women, Sarah and Louie, were walking down Pitt Street in Sydney in 1924 way before I was ready for them to even leave their houses! If you look carefully at the image above you will see hashes. Yep that’s where I’m missing information. They are catching trams, going into little cafes for cups of tea, having lunch etc before I’m even organised.

I want to stop right in front of them with my notebook and say, “Excuse me, if you could just tell me which tram you caught this morning. Or even if there is a tram from Elizabeth Bay. I also need the name of the cafe you are going to. How much is a pot of tea in February 1924 would be helpful too. And what’s with this marocain stuff? Why does everybody seem to be wearing it? I mean what does it look like? And do you know, girls, that your dresses are great but your shoes! Don’t get me started on the awfulness of shoes in the Twenties. I will do you both a favour and avoid mentioning them.”

There is so much to hunt down and check. For instance I still don’t have Louie’s last name but there is a suggestion already that her family is wealthier that Sarah’s. Sarah’s father, Henry Montague, works in Pitt Street in finance I think but at this stage I’m not sure what he does exactly.

There’s an interesting Swiss German with a yacht but I have no idea how he is going to make his way into the novel. By boat you are probably thinking to yourself. Tempting but how to work that in. Have Sarah in a dinghy in Rushcutters Bay drifting aimlessly? There is the Cruising Yacht Club of Australia nearby so may be, but another research point to check – was the club there in 1924?

In the scene I am working on now, Sarah and Toby Linden are walking in Hyde Park, enjoying the green shade away from the busy streets of Sydney. But wait…No they are not! After looking for some images of Hyde Park around that time I discovered this:

Hyde Park 1925

Construction of St James Station

Hyde Park was dug up for the new underground railway in 1919 and wasn’t beginning to look like the Hyde Park we know and love until 1926. My characters are determined on a romantic walk (well sort of) and a park must be found. Botanical Gardens? Hold on, I’ll just go and check!

Waiting for Eleanor Dark

Slow Dawning by Eleanor DarkI‘ve been doing that for quite a while now for two very different reasons but I had better start at the beginning. I first discovered that I really wanted to read Eleanor Dark‘s first novel way back in the early 1990s. I was researching my third manuscript set between the wars and as the tone of the times (as I like to think of it) is always very important to me I generally try and read at least a few books written during the time that I am researching. By then I had read Prelude to Christopher and thought it marvellous so I was quite interested in reading Eleanor Dark’s very first novel. I can’t recall the exact details but it became obvious that there were limited copies available and I think I had to either try and buy a copy online (which I never attempted) or read the book at the Mitchell Library. Also impossible with a young child and a very unsympathetic husband.

Life moved on. For me there was a divorce and a move up the coast, a World War II novel (Tomaree), a contemporary novel (Crossing Paths: the BookCrossing Novel) and then a manuscript set during World War I (The Grey Silk Purse). As research for that book I thought I would finally attempt to read Slow Dawning and this is when the waiting really began.

In July 2011 whilst researching transport during WWI, I requested Slow Dawning along with another book. I did this online during the week to make sure both books would be available for me after I got off the Newcastle train and arrived at the Mitchell Library in Sydney. On arrival I was told that Eleanor wasn’t there. I said I requested it. The staff nicely informed me there was a delay of about half an hour. She couldn’t be quickly located.

By the time the book turned up I was deep in my other research and only gave the novel a cursory glance. I was still at this stage thinking I could read it in several sittings or just glance through it and dismiss it (particularly after what Eleanor Dark’s biographer had written about the book). I did neither. I decided I really wanted to read it but wasn’t sure how I could achieve this as I knew by 2011 that the book couldn’t be bought online. Surprisingly no second hand book shop on the net had it available for sale (and still doesn’t). I reluctantly returned the book and thought I would have a look at it again next time I was at the Mitchell and hopefully not as busy.

On Saturday, 26 January this year I arrived off the train, keen to have another look at Slow Dawning. It was my main focus this time. I went to the desk to pick the book up and they told me it wasn’t there and would take  a while for them to find it. I said this had happened last time and why couldn’t it be ready when I put a special request in for it? They didn’t know. I was frustrated and beginning to wonder why this book AND ONLY THIS BOOK kept me waiting. It arrived and I began to read Slow Dawning. Because of the delay in arriving I didn’t have much time with the book and was now more determined than ever to read it.

I took it to the front counter and asked if I could photocopy the book. They said yes and calculated the cost – approximately $30. Being a starving artist I didn’t have the money to spare that weekend but promised myself I would be back in a few months to finally read Eleanor Dark’s first novel. What a mission!

On Saturday 1st June I had an awful trip down on the train, missed my connection and had a wait at Gordon station. By the time I arrived at the Mitchell I was already very frazzled and precious time had again gotten away from me. I went to the front counter to pick up the book (as before ordered online for a quick pickup) and was told AGAIN the book wasn’t there! They couldn’t locate it. WELL… you can imagine what sort of mood I was in! I made a fuss (as much of a fuss as anyone can make in the hallowed rooms of the Mitchell Library). I was asked if I wanted to make a complaint. I said yes I did, mainly, I explained because obviously there was something wrong with the cataloguing of this particular book. I filled out the form (still haven’t heard anything back) and waited.

Finally after about thirty five minutes of twiddling my thumbs the book was in my hands and I went into the photocopying room to carefully copy each page. I began by putting twenty dollars on my card to do the photocopying with and the machine just ate my money. By this time I was practically in tears! The Library staff must have thought I was mad but eventually the money was allocated to my card and I spent over half an hour photocopying each page. Finally I was able to read Eleanor Dark’s first novel. Here is my review:

Slow Dawning by Eleanor Dark

I have the book but I’m still not happy! I recently downloaded for free Betty Wayside by Louis Stone. This novel is from 1915 and is quite dated now but anyone can read it. The same should apply to Slow Dawning. In my opinion it has been forgotten because both the author and her biographer dismissed it as a potboiler. I argue that it is much more that that. I believe Eleanor Dark had serious intentions for this book but with the long delay in publication and the fact that sales were disappointing, she dismissed it as a potboiler to cover her disappointment. What serious novelist with literary aspirations sets out to write her first novel purely for money, particularly a book with a prophetic paragraph such as this:

“It was in this way that she had seen her fellow-women. They would climb at last, she dreamed, to a height where they would perform not only the artistic or intellectual work to which their natures inclined, but the normal functions of wifehood and motherhood as well – carrying a double burden as only they were privileged to carry it. A terrible fight, and a slow one, but epic in its magnificence. Generations it would take, and thousands of women would be the most bitter enemies of their own sex.”

No, I really think Dark had fairly high hopes for this first of her babies, especially when you consider her next novel Prelude to Christopher. You DO NOT as a writer, I believe, intend to write a potboiler as your first published work and then write something of such high standing as Prelude to Christopher as your second.

But the waiting for Eleanor is not over. This book should be made available for the general public to read. It is the first book, a very enjoyable novel, of one of Australia’s major writers. It should be accessible to all and the cataloguing problem needs to be fixed. Hopefully, something will be done about this sad state of affairs and Slow Dawning will eventually be available for everyone to read.