by Janet Lane
For thou with me while iuel shall I not dread…
My first inspiration to write fiction involved a thought that flashed through my mind when entering rather boring sales data into date fields. I inadvertently entered something like 1798 instead of 1998, and a “What if?” idea flashed above my head, just like in the commercials. What if my protagonist entered an ancient date and was somehow transported to that time?
That initial spark grew into a time travel romance, which has yet to see the light of day, but the vision revealed my passion for the past. I told my husband, John, that I was writing a novel. I visited Denver Public Library and hauled home a dozen monster books on England, covering the twelfth through the eighteenth centuries, and dragged them to bed with me for late-night research.
“I thought you were going to write a book,” John said. “You’ve been reading these books for a month.”
And so my research began. I eventually settled in the fifteenth century, in Somerset. To this day it feels to me as if I indeed traveled to the past.
Writing about it, though, was a different story. I studied dialogue in historical fiction novels, learning antiquated sentence structure and vocabulary, and laboriously inserted it into my story. I was bombarded by helpful contest judges with comments like, “Your dialogue is so stilted.” “Your scenes sound formal, unnatural.” And, “Don’t be afraid to use contractions!”
My research was helpful for scene-setting, describing dinners and clothing, but dialogue continued to mystify. Writing in the 1400s, was I limited to the vocabulary of the time? Fearful of being called a research flunkie, I hauled entire chapters to the library (little was available on the Internet then), painstakingly researching the history of each suspect word.
Chaucer was not much help: “Whan that Aprill with his shoures soote The droghte of March hath perced to the roote, And bathed every veyne in swich licour Of which vertu engendred is the flour; Whan Zephirus eek with his sweete breeth Inspired hath in every holt and heath.” (During a plotting session, I asked Jasmine Cresswell for help. She amazed me by speaking flawless Middle English. It was exquisitely beautiful, but more suited for academic tomes than historical romances.)
Four historical romance novels later, I’ve reached a comfort level with my dialogue. Here’s what I have found useful for my fifteenth century characters.
- I write my first draft dialogue as it naturally leaves my pen or keyboard. I refine it later in revisions.
- I take more freedoms with narrative than dialogue. For example, if I find a word that came into use in the sixteenth century, I have no problem with using it in narrative. I hesitate to use such words in dialogue, however, and research further for similar words specific to my century. If I can’t find a suitable substitute, however, I am not a slave to etymology. My genre is historical fiction.
- I purge all obvious slang and anachronistic words or expressions that will wrench my reader from the historical world I’ve so carefully created. I purge them from both narrative and dialogue.
- I get help. Fresh, more experienced eyes can catch seemingly small errors that may disappoint and upset an avid reader who knows better. For example, fellow RMFW member and accomplished historical writer Denee Cody pointed out that I used a screw-top lid when a scrivener inked his pen to begin recording a legal document. Forewarned, I had the scrivener remove the stopper. (I also avoided referring to a cork.)
Contractions and more familiar sentence structure make the writing more graceful and easy to read–provided it isn’t peppered with anachronistic words or phrases such as my protagonist “rocking” his latest set of armor or having a “meltdown” moment.
To evoke the past, I added historical dialogue in my latest release, Traitor’s Moon, but I made it brief and added a succinct background for the reader. Queen Margaret is recruiting young boys to accompany the king to the Battle of Blore Heath (King Henry VI was devout and ill, and even in times of war, Margaret brought young boys to the battles to entertain him by singing hymns.)
Here’s that dialogue.
Enchanted, James clapped his hands and began singing, “Gabriel fram heven-King, sent to the Maide sweete, Broute hir blisful tiding, And fair he gan hir greet…” He sang the carol with a clear and perfect pitch, a song of the angel coming to Mary with news of the conception and salvation of mankind.
That’s my personal history on the struggle with historical dialogue. Have you had a similar struggle in your genre? If so, how did you solve it?
Janet Lane is an Amazon Bestselling Author. The latest book in her Coin Forest series, Traitor’s Moon, released recently on Amazon as a Kindle. Her awards include Best Novel of 2006 Award–Preditors and Editors; Best Seller List–Rocky Mountain News, and Best Romance Novel—RMFW Colorado Gold contest. Her social media sites include her website, Facebook, and Twitter.