Faces of 1924

For three and a half years I’ve been looking at photos of the 1920s, especially looking at women and fashion, for my manuscript Paris Next Week. What did the women do in Australia in 1924? How did they fill their days? I’m still not completely sure but some of them in Sydney attended afternoon tea at Ambassadors, and fundraising events at the Hotel Australia, They went to the beach and to parties and balls. One excellent photo I discovered on flicker was of two women attending a tennis party on Australia Day 1924 at Victoria Barracks.

There’s a lot of grainy images of socialites to be discovered in Trove but they are studio portraits and don’t seem to offer up glimpses of personality. I have come across a wonderful photo of picnickers in front of their car, a picnic spread out and the styles of their clothes interestingly displayed but, still, it is an ad for Arnotts biscuits and not an insight into the psyche of the people photographed.

The photographs of Mina Moore come closer to what I’ve been searching for – a glimpse of that’s person’s life in their eyes – particularly an image of Vera Dwyer, author. As a result of discovering that photo I read two of Dwyer’s novels. As a result of discovering the photo above I am now in a quandary because I’ve just discovered that the young woman looking straight at the camera looks quite a lot like a young Katherine Mansfield.

The young woman is Kathleen Mangan the youngest daughter of the artist Frederick McCubbin. She grew up at Mount Macedon (not far from Hanging Rock) and sitting next to her interestingly is Joan Lindsay, the author of Picnic at Hanging Rock The image is from Mangan’s memoir Daisy Chains, War Then Jazz but unfortunately there is no mention of Joan Lindsay so there is no way of knowing if they were acquaintances or good friends. And I’ve spent hours trying to discover any further connection. Any help on this would be greatly appreciated.

I’ll leave you with Mangan on Mount Macedon:
“I always had a sort of love-hate relationship with Mt Macedon. It could be a scary place at times, especially when the wind came down from the top of the mountain and raced through the treetops. At night-time it was frightening when this occurred, particularly when the house trembled and the wind moaned through the rafters beneath the roof. But when the wind dropped and the clouds came swirling past our windows it was even more eerie. Everything became so hushed and still when the clouds locked us in. The only sound was the dripping of moisture from the eaves and the loud beating of your own heart then you saw, or imagined you saw, grotesque forms in the clouds, leering at you through the window.”

 

A writing life: happy accidents and how they occur

le_train_bleu_by_vincent_van_gogh

Le Train Bleu by Vincent Van Gogh Source: Wikimedia Commons

This is how it happens. I am currently reading a beautifully written book about Agatha Christie’s disappearance in December 1926 entitled On the Blue Train by Kristel Thornell. It’s a subject that has fascinated me since reading Agatha Christie’s autobiography and the possibility that the famous author suffered from a rare form of memory loss – the fugue state. Her disappearance is an incident that Christie barely referred to afterwards and never explained. I’ve only now just found out that Miss Marple first appeared in a short story in 1927. I find this telling. An alter ego created to help her cope with the disintegration of her marriage which precipitated her flight in the first place? We’ll never know of course but Thornell offers up what might have happened during those eleven days.

I thought at first that the title referred to depression – the blue train of depression. An odd expression that I had never heard of but early in Thornell’s book there is mention of a novel set on a train that Christie was working on at the time of her disappearance.Two days ago I googled The Blue Train and discovered Le Train Bleu.

“The Calais-Mediterranee Express was a luxury French night express train which operated from 1886 to 2003. It gained international fame as the preferred train of wealthy and famous passengers between Calais and the French Riviera in the two decades before World War II. It was colloquially referred to as Le Train Bleu in French… and The Blue Train in English because of its dark blue sleeping cars.”

Perfect! I am so excited by this. I am right now nearing the end of the first draft of a trilogy set in Sydney and Paris in the 1920s. By the end of the first novel my character is on her way to Southhampton periodically locked in her cabin by her abusive husband. Somehow she must escape him on the docks and find her way to Paris where her best friend Louise is now living with her husband, a Russian Jew named Lucien Grinberg.

This is what makes writing so exciting, a discovery like this. I now need to find out how I can get her on that train and visiting the Riviera, obviously spending time celebrating her freedom. Back to Hemingway who has written some wonderful stories about the rich and famous, my favourite Love in the Night is actually set in the French Riviera in the 1920s. May all the writers reading this blog have lots of happy accidents or synchronicity as I prefer to call it.

Forgotten Australian women novelists

Marjorie Clark

Marjorie Clark aged 20

It’s only the last ten years or so that I have really questioned how few Australian women novelists there were (or at least we know of today) writing in the years 1900-1950. Before then I just accepted the exceedingly low number as normal and relative to the times. Australia was a small country, population wise. It was a given that in those years it would have been much harder for women to get published and then harder still to keep writing with the demands of a husband and children. And nearly all not as lucky as Eleanor Dark with a studio of her own. No surprise there weren’t many. Or so I thought.

As I began to read more widely on the subject, I discovered that quite a few had slipped through the net of history. They wrote, they published but were forgotten (or ignored) by those who came after to make up the lists of worthy novelists of the 20th century. What I’ve only recently discovered is how many were left off the lists! A surprisingly large number. I have had to do a complete 360 in my thinking and marvel at how many were actually writing and regret that so many came to be forgotten and in most cases completely out of print.

Dale Spender in her book Writing a New World: Two Centuries of Australian Women Writers chronicles those who have slipped through the net and for me (researching Australia during the 1920s) it was wonderful to read about these women. I also mention this in my blog How fiction/historical fiction can save historical fact and touch on my discovery of Jean Curlewis and her writing. An excellent essay on this fascinating writer is here.

Consulting Spender again this month I have made up a shortlist of forgotten Australian women novelists I would like to read. They are:

Elinor Mordaunt 1872-1942

Mary Eliza Fullerton 1868-1946

Mabel Forrest 1872-1935

Marie Bjelke-Petersen 1874-1969

Agnes Littlejohn 1865-1944

Julia Levy 1881-1959

Hilda Bridges 1880-1971

Lillian Turner 1867-1956

Velia Ercole 1903 -1978

None of the authors’ works are available to buy. At least as far as I have been able to discover, except for Velia Ercole’s second novel Dark Windows at a cost of approximately $90 including postage from the US. (I did wonder what it was doing there). However, several libraries hold titles by the above authors so I’m hoping I will be able to borrow some of their books soon.

The titles I’m particularly interested in (because they appear to deal with Australian city life) are The Wild Moth by Mabel Forrest (a very interesting and talented woman), Jewelled Nights by the very prolific Marie Bjelke Petersen. I would also like to read Devotion by “Juliet”, the pen name of Julia Levy, who I couldn’t find much information about. Also Our Neighbours by Hilda Bridges a Tasmanian writer, along with her brother who was Tasmania’s most prolific writer with 36 novels.

Lastly but not least (as the book won the Bulletin novel competition for 1932) is No Escape by Velia Ercole (Margaret Gregory). It is set in the 1930s and explores the experiences of an Italian doctor adapting to life in rural Australia. Although not really fitting my bill for a book that will help my research of life in Sydney or Melbourne in the 1920s, it sounds very interesting.

Whilst troving for details and books of the above authors, I came across three more forgotten authors in this essay in the La Trobe Journal. Jean Campbell has not been completely forgotten although you can’t borrow or buy her first novel Brass & Cymbals for love or money. I’ve tried, believe you me. Unless my memory is playing tricks I don’t remember reading about Marjorie Clarke (writing as Georgia Rivers) in the Spender book. Her photo is at the top of this blog and she looks to me like a “kindred spirit”. I hope to be able to read She Dresses For Dinner. The third writer is Doris Kerr writing as Capel Boake, who died quite young. Her output was small and the one novel of hers I really want to read, I will probably never be able to. “‘The Flying Shade’, set in Melbourne and depicting art student life in studios and cafés in the city, was finished by early 1921, but was never published.”

Lastly I’ll finish with Vera Dwyer who I discovered in a book of Australian women photographers. Her portrait, taken by May Moore, is striking and when I read she was a writer, I was drawn to discover more about her. I’ve since read two of her books, The Kayles of Bushy Lodge and The Banished Lovers, both of which I bought at abebooks.com. Several more of her books are available which is strange considering she is one of the least known of the forgotten novelists. (Is that an oxymoron?)  I don’t remember her being listed in the Spender book and she’s definitely not in Drusilla Modjeska’s Exiles at Home: Australian women writers 1925-1945.

Please watch this space in my journey to read these forgotten Australian women novelists. Hopefully I won’t experience the dramas I had trying to read Eleanor Dark’s first novel Slow Dawning. More details here. Wish me luck.

PS Last Saturday I found a book for $5 at the Lifeline shop at Charlestown. It looked old – a pale blue cloth hardback entitled Annette of River Bend by Irene Cheyne. I opened the book to find it was published by Angus & Robertson in 1942. Another forgotten Australian woman novelist.

Catching up with your characters after a long break

Passenger Liner 1925

Passenger liner 1925 Image Source: Wikimedia Commons

I’m in a whimsical mood so this is a whimsical post. I’m working out strategies – the best way to reconnect with my characters after a long break. Maybe some of these may help you if you are in the same “boat” and writing an historical novel. This is not the desperation of What to do when you can’t write. No, nothing like that. It’s more like one of us has been on holidays. Say, me. I’m back in town leaving my calling card Debbie Robson, Writer from the 21st century.

There it is on the silver platter. It’s the first, I notice this morning, but will probably soon be buried under an abundance of fancy calling cards because my character is young, very pretty and from one of the wealthiest families in Sydney. And she’s available. Well, her mother and father think she is.

I’m thinking maybe a cooee might help. I have a strong voice that carries. I could cooee across the sandstone mountain range. Way down below are tree ferns, a tinkling waterfall. Look, there are my characters walking along the opposite ridge. Their figures are outlined against the setting sun like an old fashioned travel poster. Soon they will heading back for dinner at The Carrington in Katoomba.

How about a letter? That threatened species that is disappearing as fast as good quality writing paper. “I’m writing to let you know that your best friend Louie is safe and well, in Paris. With Christopher’s help she booked a berth on the SS Osterley. Yes, she’s not even in Sydney. Don’t worry, Sarah. I’ll take care of her.”

In reality (well in the novel) Sarah will be distressed and concerned for her friend and I will leave her in that state for at least a week. Oh, the cruelty of novelists! But don’t worry the manuscript is not called Paris Next Week for nothing.

Actually I’ve decided I’m going to flee as well. I think I’ll catch up with Louie first. Right now I’m on this God awful cruise liner with screaming kids everywhere. Beside me are people with iPhones, iPads and Notebooks taking photos of nothing. I bribe a steward and free of baggage and misconceptions, I step into the small tender that is bobbing in the waves. We are leaving the stacked monstrosity behind. Sunlight is dancing on the water and ahead is the Osterley, dark hulled and very long, quite alien to my eyes. As we get closer I can see women in cloche hats and pencil thin dresses leaning on the rails to call out to me. I smile and call back, thrilled to be leaving the 21st century behind.

Following the paper trail and/or reading and searching google & wikipedia

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Saint-Sulpice Library (now Bibliothèque et Archives nationales du Québec), Saint-Denis Street in Montreal. Photo: Wikimedia Commons

I’ve mentioned the paper trail before. It’s something that fascinates me but something I try to avoid when I’m writing. See How to Get Distracted Writing Historical Fiction. Today I am recovering from a small operation and I am not in the mindset to work on my fiction so I do what I normally do when I can’t write for various reasons. I read.

Less than a year ago I discovered crime fiction. Not the crime fiction that most people read but the crime fiction written by women in the 1950s and 1960s. For an historical novelist it is a wonderful world to discover, particularly for someone like me that has hardly ever read mysteries. The storylines are simpler than today’s books (burdened as they are with CSI, multiple plotlines, advanced technology etc). Instead these novels are peopled with interesting heroines and filled with everyday details that have now become historical fact. Think 10 cent jewellery stores and the road to Geneva early evening with not another car to be seen.

I began with Holly Roth (who is still my favourite) and devoured Shadow of a Lady, The Content Assignment, The Mask of Glass and The Sleeper. I was recently in Tasmania visiting the Salamanca Markets and was lucky enough to find a book by Helen McCloy, He Never Came Back, published in 1954 for only $2, (a 1961 green Penguin). I began reading the book and was not distracted until I got to this line on page 51. (A friend of the main character, Sara Dacre, has disappeared and she is worried. She is discussing what has happened with her aunt Caroline and an elderly man).

“It’s like bridge,” said Caroline. “You have to keep everything in your mind at once – past, present, and future. Book murders are more amusing than murders in real life, but, when it comes to disappearances, I don’t think any books have touched the real cases. Lord Bathurst, Marie Celeste, Charlie Ross, Dorothy Arnold. And Judge Crater.”

I knew of Marie Celeste of course and being female was immediately more interested in the disappearance of a woman than a man, so I honed in on Dorothy Arnold in google and came up with this entry in wikipedia. And so the paper trail unwinds and the book is left open at page 51.

It seems Dorothy Harriet Camille Arnold “was an American socialite who disappeared while walking on Fifth Avenue in New York City in December 1910. The circumstances surrounding her disappearance have never been resolved and her fate remains unknown.”

I read the entry and discovered a link to List of people who disappeared mysteriously and of course clicked on it. How many people can resist a link like that, I ask you? Definitely not me. As I’m researching and writing a trilogy set in Paris and Sydney in the 1920s, I clicked on the link to the 1920s and scanned through the names. Among them was Glenn and Bessie Hyde. I already knew about them from a novel I read a number of years ago. And as I type these words I’m off on another paper trail (web search) to find the title of the book. Voila! Grand Ambition by Lisa Michaels. It is an enthralling book and I highly recommend it.

I checked the other names and read about The Lost Battalion. Having recently completed a final edit of a novel set during WWI this was of particular interest. In 1921 Charles Whittlesey 37, “American soldier and Medal of Honor recipient who led the Lost Battalion in World War was last seen on the evening of 26 November 1921, on a passenger ship bound from New York City to Havana, and is presumed to have committed suicide by jumping overboard.”

On reading about the Lost Battalion I discovered that a pigeon named Cher Ami was responsible for saving the lives of 194 men by delivering a message whilst badly wounded, 25 miles to the rear of the action in just 25 minutes. How good is that?

Although the 1920s list is fascinating (and I will probably go back to it later) my eyes were drawn to the 1930s and the name Barbara Newhall Follett. She “was an American child prodigy novelist. Her first novel, The House Without Windows, was published in 1927 when she was thirteen years old. Her next novel, The Voyage of the Norman D., received critical acclaim when she was fourteen. In 1939, aged 25, she became depressed with her marriage and walked out of her apartment with just thirty dollars. She was never seen again.”

Of course you can probably guess what I did next. I read all about the child prodigy and decided I wanted to read her novel The House Without Windows. You can download it here. And so in the nature of paper trails (web searches) which often seem to be very Alice in Wonderland or Oscar Wildeish, we began with a 1950s crime novel and followed the trail to an American socialite, a long list of missing persons, took a detour rafting down the Grand Canyon, found a Lost Battalion, a Medal of Honour winner, an amazing pigeon, a child prodigy and ended up with what? A book of course! And I’m off to read the Helen McCloy after being rudely interrupted by a paper trail four hours ago.

Playing Musical Chairs With Sydney Suburbs

`Greenoaks',_Darling_Point,_1895

Greenoaks, Darling Point 1895. Source: Federation House Wikispaces

I can do this! I’m a novelist! But why? Now that’s a good question but I’d better start at the beginning. As I might have mentioned, I had barely done any research when I began writing my manuscript Paris Next Week last August. I needed two Sydney suburbs fairly close to the inner city so I chose Elizabeth Bay for Louie Galbraith and Darling Point for my main character, Sarah Montague. I actually can’t remember why but with this decision I had put my main character further away from Sydney and all that was happening there.

This wasn’t a problem until I started moving my characters around the city and also became better acquainted with them. It turns out that Louie’s family are richer than the Montagues and she therefore has a more generous allowance than Sarah. She also has a chauffeur at her disposal. Sarah is forced to sometimes catch the tram (poor darling) and often walks to some of her meetings with her best friend. This is a bit of a stretch if she was walking from Darling Point – an hour as opposed to the more realistic thirty minutes from Elizabeth Bay.

Recently I have been investigating the mansions of both suburbs. Libby Watters at the Woollahra Local History Centre has been a wonderful help. With a map and a list of Darling Point mansions she supplied, I have discovered that Darllng Point is the grander suburb, with several outstanding properties such as the fairytale Greenoaks above. It’s one of four spectacular castle like houses in the suburb, including the amazing mansion called The Swifts. I grabbed this for Louie’s home only the other week and with this decision and the chauffeur, I decided to swap the girls’ suburbs. Once I had the extra wealth and the suburb, AND the castle here is the paragraph that came from all the manoeuvring. It is Sarah pondering on Louie’s house I’ve called Eastbourne (The Swifts in disguise) :

“It has crenellations everywhere, ready for battle with little chimneys shaped like turrets and a portico that could shelter a whole wedding party in a thunderstorm.  It is an amazing house masquerading as a castle in Scotland and the magnificence of it has always shadowed Louie in a way. It’s strange that I should only have just realised this but it is what I’ve been thinking since our talk at Darlinghurst.

She loves the house and grounds. I know she does but she also fears what the house represents. I can’t blame her! I’m thankful I don’t live there because I’m sure I would feel the same way and I think that’s why we always played at Highcliffe when we could. Not just because we loved clambering up and down the switchback stairs to the garden. We used to get to the bottom and look up. And although Highcliffe looks the most impressive from that view, it still manages to look friendly rather than imposing. Whereas Eastbourne does imposing AND grand exceedingly well. What daughter could look up to that? And what sort of man does the house call to? The wrong sort of man, I’m sure. The sort that says to himself, “Ah, here is money to burn.””

The suburbs are now aligned and all is right with the world of my characters. At least for the time being!

 

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!

 

Sydney’s Lost Cafes

Ambassadors Cafe

There are quite a few that are hiding from me. Images I’m talking about. After a few weeks of dogged research I have finally unearthed the photo above courtesy of Mike Sutcliffe’s article from This Australia 1986. I know the writing is small but according to the ad “Delightful hot supper from 10 o’clock…dancing until 1am…Order drinks before 6pm.”

Now that last is a vital piece of information – the ridiculous six o’clock closing which, of course, bred the sly grog shops and the illegal sale of liquor at many locations, including The Ambassadors. I have just this week finished writing about a raid on the cafe and have now turned my attention to other cafes in the area.

Jack Lindsay, Norman Lindsay’s son, writes of Mockbells: “I sat over my eked-out coffee and dozed amid the pseuod-moorish decorations almost obliterated by smoke, age, damp and their own insignificance.” I know from my research that there were a few over the years. One in Castlereagh Street (possibly Jack’s). Another in the Imperial Arcade in 1902. In 1897 a Mockbells cafe had a general meeting of the Society of Artists. That’s the earliest mention I have found. The latest is 1948 in an article: “Mockbell’s, Ltd., has agreed to sell six of the company’s seven city restaurants to a new company to be called Mockbell’s Pty. Ltd.” And after that they disappear. As for pictures? I haven’t found one! If anyone has any I would love to see them.

I have also been unable to find several other cafe/restaurants of Sydney in 1921-1926 that Jack writes about. There is the Cambridge, the Hungarian cafe, the Moana, the Roma and Burt’s Milk Bar. I have also not been able to unearth a picture of Amendola’s wine bar in Wilmott Street which later became Cafe La Boheme. Or Pelligrini’s. I’m still hopeful about these last two. And will post again if I find any of the cafes mentioned.

If however you are looking for a Sydney cafe frequented twenty odd years later by bohemians – journalists, writers and artists – well you are in luck! Below is one of many wonderful photos of the Lincoln Coffee House 1948-1951.

Jean Grenet and Mrs Barry at the Lincoln Coffee HouseThis image is courtesy of the State Library of New South Wales on Flickr. If you know of any photos of the above cafes and restaurants of Sydney in the Twenties, I would love to hear from you. Here’s hoping!

Digging deep into Sydney’s past

Excavation_at_York_Street_northBasement and underground station deep actually! Did you know that under The Strand Arcade was the Ambassador’s Cafe? It was opened in late 1923 and the cafe was in the newspapers off and on throughout 1924 because of the illegal sale of liquor. You can imagine me jumping for joy when I discovered this. In point of fact this last week I’ve been seriously thinking of changing the opening chapter to January 1924 instead of October. Maybe even have my main character Sarah visiting the cafe on that fateful night in February. Just a thought…

At the moment I’ve written only four and half pages. This is the first novel that I have actually started without doing at least several months research beforehand, which is why I’m in a bit of a pickle. Very early on I was planning a garden party to be hosted at Sarah’s house in October with her controlling mother in her element and Sarah dodging as many eligible and boring bachelors as she can. But I’m guessing that not many garden parties in the twenties would have been hosted in the middle of summer. If I go ahead with the change in timeframe to accommodate all those lovely police raids I will have to forfeit the garden party.

I am now stuck wondering what social event the mother could organise in January – if any at all! You see this is just one of the many challenges historical writers face when they are recreating the past as accurately as they can. Challenges surface, more research is needed and then you stumble on an interesting fact that can trigger a scene, an event, even a very important location in the storyline.

I stumbled on the Scottish Women’s Hospitals in 2010 and what those women achieved during WWI ended up being a major theme in The Grey Silk Purse. In Paris Next Week, my new manuscript, my theme is the lost generation of the twenties – the frenetic surface glitter of their lives which I believe was a actually a psychological recreation to the great losses of WWI. How I can depict that aspect of history and still create an enjoyable novel is the task I’ve set myself, as well of course as getting to know Sydney in 1924.

It’s early days yet but I already know that Hyde Park was a mess from construction of St James Station so I can’t have Sarah and her beau conducting a romantic walk there. The very famous Australian restauranteur Azzalin Orlando Romano worked at the Ambassador’s cafe before opening his own restaurant. There was a police raid on Maxine’s – a dance hall in 1924 (another scene in Paris Next Week very possibly) and according to Jack Lindsay there was at least one coffee shop called Mockbells but more details are proving elusive. Something called The Blues was the new dance craze and there was a Hungarian cafe in Castlereagh Street. Heady stuff! This is where I long for the Tardis to just nip back to 1924. Oh to scout around and be a fly on the wall! I can only hope to do Sydney in 1924 justice.

Stay tuned.

Beginning the long journey of writing a new novel

Paris Next WeekYes, I know, I’ve just finished my manuscript The Grey Silk Purse and have made my first submission but I’m nervous. As a diversionary tactic I’m researching a new novel. I even have a title – Paris Next Week.

I’m at the absolute beginning which is always exciting. I have a vague idea about the plot and I have the two main locations – Sydney and Paris in the 1920s. I’ve just picked up my first book to read. It is Women, the Arts, and the 1920s in Paris and New York edited by Kenneth W. Wheeler and Virginia Lee Lussier and even after a quick glance it looks like the perfect ticket. The ship hasn’t docked yet but I already have a list of books to take on the voyage and some of these books may even help determine aspects of characterisation and plot.

That’s the fun of researching. You read to learn about something new. It may be Serbia in 1917, Port Stephens in 1942, England in the middle ages and as you find out more information you often stumble across an amazing fact that alters your writing completely.

Originally at the very start of The Grey Silk Purse I had a vague idea that my main character would be a nurse in Salonika, although something nagged at me that this profession wouldn’t suit my Miss Summerville. I began reading about the Australian nurses working there during WWI and discovered that other Australian nurses were working in Serbia, of all places! When the Australian troops were sent to France a lot of our girls were sent to the little known Macedonian Front. I began to read about Serbia in earnest and very quickly stumbled upon the wonderful Olive Kelso King who drove an ambulance. That was more like it. This is what my girl would have been doing!

Through reading I discovered not only the beautiful and very important location Lake Ostrovo for my novel but what my character did during the last year of the war. I read six memoirs of women involved in the Scottish Women’s Hospital and I drew from their knowledge to set the scenes for the most crucial chapters in the book – the why and wherefore of life in a field hospital. I can’t imagine the completed manuscript without all these facts now common knowledge to me. I don’t reveal them all of course but they are crucial to a lot of decisions I made (or my character makes) during the course of her war work.

I now have an even greater admiration for the women who were involved in this terrible conflict. We often talk about Post Traumatic Stress Disorder. We can now see that returned soldiers from all major offensives were victims but how did the women cope? We know the men either ended up in asylums or drank excessively after both world wars but what happened to the VADs, the ambulance drivers and the nurses when they returned to civilisation? That question is the driving force of the novel and it’s one I really couldn’t have asked without at least the basic facts behind me. So happy research reading. You’ll never know what you may stumble upon!