Upcoming Workshops: Spring/Summer 2019

I am so pleased to be offering a smattering of workshops all over the East Coast this year. Here they are, with descriptions:

history-ever-after-historical-romance-chronotope

First, I will be reprising my study of historical romance at the New England Chapter of Romance Writers of America on May 19, 2019:

Over eighty percent of bestselling historical romance books published in the first half of 2018 were set in Britain, either during the 19th century or the medieval period. These two fabricated chronotopes are selectively accurate to history and narrowly focused on high ranks of the nobility—in other words, they are “escapism.” This presentation will consider what escapism means in this context, who it serves, and who it harms. While any reader can enjoy a good duke Regency every once in a while, the net impact of the most popular chronotopes may be to corrode our understanding of history, marginalize anyone writing from a wider palette of settings and characters, and exclude authors of color.

I originally gave this talk at IASPR 2018 in Sydney, Australia. I will expand my comments a bit because I have more time, and I will answer any questions the NECRWA folks have. Guests are welcome (for a nominal $5 fee to the chapter).


My other speaking engagements this summer will be more focused on history itself and historical research:

Schoolbenches-Trenches-Historical-Novel-Society

On Friday, June 21, 2019, bright and early at 8am (!), I will be presenting at the Historical Novel Society North America conference. My talk is entitled, “Schoolbenches and Trenches: The Philippine-American War Setting”:

Liberate and uplift? Or conquer and oppress? The revolutionaries of the eighteenth century became the redcoats of the twentieth, fighting a war to seize the Philippines (1899-1913) as the first step toward overseas empire. Enter the American Century, complete with debates over transpacific trade, immigration, Muslim separatists, and national security—all issues that resonate for the modern reader. Historian, teacher, and author Jennifer Hallock will explain why the U.S. colonized the Philippines, how this experience still shapes both countries now, and how it creates engaging American historical fiction.

I have given this talk to libraries and school groups in both the United States and the Philippines. Here’s an interesting twist: my Manila audience knew they had been an American colony—putting them ahead of far too many Americans!—but they had not been taught about the Philippine-American War itself or many of the controversial policies the Americans used to pacify the islands. If you want to know more, check out my history posts on this website.


History-Games-Research-Workshop-RWA

Finally, I will be a part of two workshops at the Romance Writers of America national conference in New York City, this 24-27 July 2019. In addition to being invited to take part in a Gilded Age panel (more on this to come!), I will be giving my own researching workshop:

How do you write authentic characters who are nothing like you? Through lots of research, of course. But beware—flat descriptions from encyclopedias won’t cut it because they reflect only the most common experience. The best characters are the outliers: the unusual, precocious, and maybe even dangerous heroes and heroines. Learn how to find inspiration from free sources online, such as books, memoirs, documents, newspapers, magazines, advertisements, maps, photographs, clothing, artifacts, personal papers, and videos. Though this workshop’s emphasis will be on historical research, especially the 18th through early 20th centuries, it will include tips and tricks for all authors. Just like the Hunger Games series used allusions from ancient Greece to Vietnam, true stories inspire the best fiction, no matter what genre.


I hope to see you this year at one of these conferences or workshops. If you would like me to bring one of these closer to you, please contact me at jen at jennifer hallock dot com. And happy writing!

Jennifer-Hallock-2019-Workshops

The History Games: Micro-History Models

What is micro-history, you ask? It is the investigation of small units in history—an individual, a small village, a family, or a school, for example. Why is this important? Because large trends, the kind of history you get in encyclopedias, smooth out history to give you only the most average experience. And who likes to read about average? No one!

You want to know about the heroes and heroines—by definition, the outliers, the dangerous, the obscure, the interesting! Part of what authors are selling is the chance to live someone else’s life for a little while. Maybe your character is Marianne, a half-Jamaican hotelier seduced by a spy during the Crimean War; or Lily, a diplomat’s daughter who rescues a wounded American Marine in the Boxer Rebellion in China.


Either way, flat descriptions from encyclopedias won’t cut it. You need to mine primary sources for the convincing details of everyday life. Where else would you learn how Marianne chased off a thief with her rusty horse pistol, primed only with coffee? Or how Lily saved her favorite white pony from becoming dinner for starving Americans in Beijing?

Marianne and Lily are not typical, but they are believable because they are based upon real people—real outliers. My inspiration for Marianne came from The Wonderful Adventures of Mary Seacolewhile Lily is based on Laura Conger in Sarah Pike Conger’s Letters from China. Cool books! Where did I find them, you ask? At the end of this post, you will find a handout detailing many wonderful places to find free primary sources on the internet: books, articles, artifacts, photographs and videos (if available), illustrations, newspapers, and more, all from the time period itself.

But how do you use this information to create realistic characters and believable conflict? And how do you know what facts to use and what to make up? I came up with five models to help you figure it out:

The Ice Cube Tray Model

My fake characters Marianne and Lily are based upon the broad outlines of real people, but if I actually wrote books for them I would make up individual personalities, hopes, dreams, senses of humor, and more. For another example, let’s use a book I did write: Della Berget, heroine of Hotel Oriente, was inspired by a real-life outlier, Annabelle Kent, author of the memoir, Round the World in Silence. This middle-aged, deaf world traveler gave me the raw material to write a young, deaf aspiring journalist. To suit my own purposes, I gave Della a US congressman for a grandfather—loosely based on a real one, Senator Albert Beveridge—and plopped her in the middle of 1901 Manila, where carpetbaggers like her could make a name for themselves. Elements of Della come from Annabelle’s story, but the real person is an incomplete mold, like an ice cube tray. I filled in the rest.

The Straitjacket Model

What if you don’t focus on a specific person? In fact, quite the opposite. What if you highlight the social constraints of a chosen era—the rules that pen in the people? Guess what? You have the formula for a clever foil, or even villain, to represent “society” as a whole—without being average. I did this for Archie Blaxton, the man you loved to hate from Under the Sugar Sun. I took every horrible thing that came out of an American’s mouth (or memoir) about the Philippines, and I gave it to Archie. He became an amalgam of all the worst Americans I could find. (People suck, by the way.) I call this model the straitjacket.

The Open Flame Model

Real history can also provide conflict, too. I needed a scandal for Hotel Oriente, something to put a little pressure on my hero, Moss North. (Moss, by the way, was based on the real manager of the real Hotel Oriente, West Smith. Get it? West Smith became Moss North?) By searching some American newspapers, I found a real scandal that almost brought down the Oriente, gutted the Manila quartermaster’s office, and sent a handful of men to prison. Good conflict adds heat underneath your character’s feet, prompting them to make pivotal decisions—and declarations of love! I call this the open flame.

The Millstone Model

For my upcoming book, Sugar Moon, I gave my hero, Ben Potter, a troubled past. He was traumatized caused by a real event: the 1901 attack at Balangiga in which 48 American soldiers were killed by angry villagers. Ben’s memories will be shared in flashback form because they shaped Ben into the man he is, for better or worse. (Most of you would say worse, but give him a chance. Or second chance. Well, okay, third.) Ground down by the millstone of war, he is someone new because of this real event. It is a big part of his internal conflict.

The Fridge Magnet Model

Finally, I use real vignettes and anecdotes throughout my books. A lot of people remember the snake scene in Under the Sugar Sun, and I wish I could take full credit for it. But that really happened to a real American on one of his first nights in the Philippines in the early 1900s. He even had to buy a replacement snake, too! There’s some stuff you cannot make up, and you shouldn’t have to. But you do need those little details that make your book convincing.

Consider this: when you walk into a house, where do you find the small details important to that family’s daily life? On their fridge. (Or their medicine cabinet, but that’s an invasion of privacy. Shame on you.) Therefore, I call this the fridge magnet model. These little snippets tell your reader more about a character or setting than Mr. Exposition ever could. For example, the snake story told me how clever rural Filipinos were to use one pest to control another; and it told me that Georgie, for all her pluck, wasn’t going to get anything right her night in Bais. Her “fish out of water” anxieties will be essential to her later conflict with Javier.

Conclusion

Whenever I approach a primary source, I think: how can this event advance my story or my character development? And you need to be thinking this, too. No matter how much fun it is to research—no matter how many rabbit holes you want to fall down—everything should move your book forward. Stay focused on these five models. I hope they help!

By the way, here is the handout of websites that I cover in the workshop’s “how to” portion, along with some Google shortcut tips: Hallock Micro-History Researching Tips. Happy researching!