Finding Authentic Voices by Jeffrey Walker

Jeffrey K. Walker is an award-winning author who came to writing historical fiction from a unique background as a bomber navigator, criminal prosecutor, legal historian, and international attorney. He’s written two novels of his Sweet Wine of Youth trilogy, depicting the epic events and impact of the First World War. As many of you know, I have a soft spot for those who write about WWI. Over to you, Jeff.

Finding Authentic Voices by Jeffrey Walker

My second novel just went on sale, so now with Two Books In A Row I might have something mildly interesting to say. With a big dollop of trepidation considering I’m writing this post for the crazy-talented M.K. Tod’s blog [OK, I’m blushing here – MKT], I’d like to share my struggles to find authentic historical voices.

Like M.K., I write in the period of the First World War. This has distinct advantages compared to writing in Saxon England or Ancient Mesopotamia—there’s a lot of material available. On the other hand, the epoch of the Great War is much more familiar to modern readers than remoter stretches of history. Some might even come preloaded with first-hand accounts from grandparents. This adds a free radical to how readers approach a WWI-era book. Suffice it to say, authors who write Tudor or Regency don’t have quite the same problem.

As historical fiction writers, we’re chasing the bubble of verisimilitude. We’re seeking to lull our readers into a fictive dreamscape set within our chosen period, not pass a blind peer review by a panel of PhDs. Within the superstructure of solid research, we imagine our histories and we therefore have to find voices for the characters we’ve imagined placing there. By this I mean not only their dialogue, but also their patterns of thought, reactions to all manner of situations, and interactions with each other and their world. That’s the challenge in developing richly drawn, three-dimensional characters that engage readers on a deeper level than merely as historical curiosities.

Admittedly, I’m a little neurotic about dialogue. As a result, I spent time researching well beyond what kit soldier’s carried on the Somme or what daytime shoes a woman would’ve worn in 1922 Harlem. In the end, my obsession with authentic voices led me down some interesting rabbit holes.

My biggest and earliest Aha Moment came with Paul Fussell’s 1975 work, The Great War and Modern Memory. Technically a work of literary criticism, this incredible book opened my eyes to the great tectonic shifts the First World War produced in Western culture from top to bottom. The insidious turning of the forces of science and industrial progress to the mass production of death and destruction resulted in a wholesale rejection of a hundred years’ worth of cozy Victorian consensus about the benign progress of modernity. With this personal epiphany, I went off in search of primary sources to find the voices of those who somehow endured 51 months of carnage and privation.

I started by diving headlong into the War Poets. The highly distilled emotion of these poems—some by men like Rupert Brooke and Wilfred Owen who wouldn’t survive the conflict—established a poignant benchmark for other first-person sources, as well as providing titles for my trilogy and the first book. This propelled me on a free-range survey of other original material.

I was desperate to get the sound, cadence, vocabulary, and idiom of these remarkable men and women into my head. I read all four volumes of Ford Madox Ford’s Parade’s End, some Robert Graves, and reread for the umpteenth time Hemingway’s A Farewell to Arms. I bought used copies of war letters, trench diaries, and memoirs. (I caution against relying on memoirs written more than10 years or so after the War. Rose-colored glasses and all that.) One of the more remarkable of these was a recent translation of the notebooks kept by a socialist barrel maker from the Midi, a poilu named Louis Barthas who served from the first day of the War through the Armistice.

I bought a box of reproduction artifacts in the gift shop of the Imperial War Museum—which led me to spending several hours listening to two dozen songs listed in a Red Cross entertainment program from 1917 to literally get the sound of my character’s music in my ears. On a more practical level, this broad survey of original writing gave me a strong grounding in the slang, idiom, word choice, and level of formality used by people of the period. I found one important exception—profanity. Writers self-consciously cleaned things up, even when writing to their diaries. I found one of the more authentic sources for period profanity to be original lyrics of soldiers’ songs. I refer you to the invaluable Punch publication, Soldiers’ Songs and Slang of the Great War, collected by Martin Pegler.

Then there was the problem of dialect. In my first book, I drew main characters from Newfoundland and Ireland, as well as supporting characters from New York, Boston, Scotland and England. Without a lot of forethought, I managed to stumble into some of the densest dialects of English outside the Caribbean islands.

The dialect issue was a two-axis challenge. Not only did I have to reckon with the regionality, but I also had to place the dialect within a specific time period. This meant expending a lot of effort researching the etymologies of idiomatic phrases. As an example, I wanted to say of my main character Deirdre Brannigan, a delightfully opinionated nurse from Dublin, “Sure, she’d snogged a few boys before…” There were two problems with that little phrase. I knew snogged was British idiom, but is it Irish? In particular, is it something a Dubliner would say as opposed to a Corkonian? Yes? Good. Now, when did it enter common usage on either side of the Irish Sea? Shoot, not until the 1950s. So that phrase never made it into the book, although to my 21st-century Yankee ear it sounded rather old-timey.

And there’s a deeper problem with dialect. My Newfoundlanders presented a stark example of the tradeoff between authenticity of voice and accessibility of dialogue. Anyone who’s spent more than 15 minutes on Newfoundland or watched the later seasons of Republic of Doyle can attest to the impenetrability of Newfounese. Complicating matters, the historical isolation of the various parts of the island has led to some two dozen sub-dialects within a population of 528,000. Yikes.

It took me a few drafts to figure out how best to skin this dialect cat. Particularly with the Irish and Newfoundlanders—two cultures with strong oral and storytelling traditions—I thought it essential to impart some sense of the sound of their dialects. My early attempts at phonetic punctiliousness yielded something impenetrable to all but linguistic nerds. As is often the case, I ended up with a compromise, trying to impart just a flavor of the rhythms and textures while keeping the dialogue comprehensible to the elusive Average Reader. So my Newfounese is something of a pastiche of old idiom and some unavoidably characteristic phrases. Whadda ya at, b’y.

I went through a lot of effort and angst to capture to the authentic voices I was chasing, but in the end isn’t this sort of challenge why we write historical fiction? I’ll leave it to you to judge if I’ve succeeded.

Many thanks for adding your voice to the discussion of historical fiction, Jeffrey (pun intended). You’ve reminded me of the research I’ve done – although not with the same dialogue challenges. Wishing you great success with your trilogy.

Truly Are the Free by Jeffrey K. Walker – Ned Tobin leaves his Newfoundland comrades to join the American forces in 1917. Chester Dawkins, son of an affluent African-American family, joins a newly formed regiment destined for France. They both confront their long-held assumptions and prejudices when Ned is assigned as a white officer to Chester’s “colored” regiment, the 369th. Meanwhile, sister Lena Dawkins secretly chooses an unsavory path to keep her family’s Harlem home. And Ned’s beloved, the alluring Adèle Chéreaux, carries a secret of her own as she flees the Germans to an uncertain future in Paris. In Truly Are the Free, the second book of the Sweet Wine of Youth Trilogy, these intriguing characters from None of Us the Same and some surprising new ones come vividly to life. How do the soldiers of the 369th endure the unspeakable horror? What new relationships lie ahead in Jazz-Age Harlem and avant-garde Paris? Can Ned and Adèle find happiness together?

FOR MORE ON READING & WRITING HISTORICAL FICTION follow A WRITER OF HISTORY (using the widget on the left sidebar)

M.K. Tod writes historical fiction. Her latest novel, TIME AND REGRET was published by Lake Union. Mary’s other novels, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, NookKoboGoogle Play and iTunes. She can be contacted on Facebook, Twitter and Goodreads or on her website            

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14 Responses

  1. This is a great post, as another writer who’s tackled WW1 in the past I can understand a lot of the problems – coming from the English West Country, and writing the dialect, I feel your pain when it comes to authenticity and accessibility… it’s a tough choice, and a fine line! I wish you all the best with your new release!

  2. Voices are tricky for historical novels, because they are depicting those times, but written for people living in our times. E.g. reading Shakespeare in original unadapted proves daunting, but many people love the retellings in regular contemporary vocabulary. Besides, in historical novels many people speak a foreign language than the one we are reading in. (Be it that we are reading the writer’s original language or a translation).

    Many people say also that showing accents phonetically might make the writing unreadable, and they advise to mention only “he had a strong French/ Spanish accent”.

    1. Yeah, phonetic spellings. Bad idea. Stuck with that for a few drafts of my 1st book, then jettisoned it wholesale. Luckily, early enough that only my wife and I had read it.
      However, I have to disagree on one point. I’m a purist when it comes to Shakespeare. You lose a lot of the music of his writing in versions that “update” the language. I try, time allowing, to re-read any Shakespeare play for which I have tickets in the original but in an annotated edition. That way you get the jokes. Admittedly, I’m often one of the only 3 or 4 people in the theater LAUGHING at those jokes. As I taught my three children, “Shakespeare is hard and you have to work at him. But he’s worth it.”

      1. I think the meaning is more important, in a story, than the music. I tried to read only one in original. (And the same happened with some French poets of the same or earlier ages). Their language is totally different than the one spoken now, and I bet native speakers find it difficult too, not only me, as a foreign language English learner.

        1. You’re not a native English speaker, so I can appreciate how your approach to reading Shakespeare or other poets may differ from mine. Still, I’m not sure I agree. I read fairly good Italian and French, can muddle through in Spanish and Latin, and on a good day can even handle some Irish or or Scots Gaelic. I love facing-page translations of poetry in any of these languages. (One of my favorite books is a slim volume of Pablo Neruda’s poems in facing-page translation.) I always thought this format was the perfect compromise. You get the English meaning on one side—I prefer direct translations, not attempts to “re-rhyme” in English—with the original language on the other. If you have a basic comprehension of the original language, I find to adds immeasurably to the reading experience.

          Granted Shakespeare wrote in both verse and prose, particularly in his comedies. His greatest works were mostly in blank verse, however. I always felt his prosody was integral to a full comprehension, especially an emotional understanding, of his work. Equally, his use of rhyme was very important—I’d have not wanted to miss out on that lovely initial meeting of Romeo and Juliet, when they speak in a perfectly constructed sonnet. Shakespeare was such a master of alliteration, assonance, and onomatopoeia, too. And let’s be honest, the plot lines of his plays were almost entirely lifted from someone else, as many researchers have pointed out. It’s his language that sets him head and shoulders above other English writers.

          This was a great back-and-forth, Marina. I haven’t engaged in any deep thinking about Shakespeare in quite some time. Thanks.

  3. These books reference Newfoundlanders fighting during the Great War where they lost a majority of their young male population, a fact that is overlooked by most historians (except Norm Graham who deserves recognition). Isn’t it ironic, and a bit sad that although Newfoundland was not part of the Dominion of Canada at that time, they are now and yet both of Walker’s titles are not available on Kindle in Canada.

    1. Thanks for the comment, Greg. Yes, in my travels through Newfoundland, I also discovered the lingering and profound impact the First World War had on that remarkable place and people–there’s a real sense of immediacy and nearness with that valorous and tragic time, much more so than here in the States.

      In regard to Kindle books in Canada, I set my ZenMate location to Canada and got on I found both print and Kindle versions of “None of Us the Same” and “Truly Are the Free” at the link below. I hope you’ll give them a try. Newfoundland is at the very heart of NOUTS, but it’s also the setting for some important scenes in TATF.

      1. Thanks Jeffrey. It took 15 minutes on chat to have it corrected such that the books are now available to me in Kindle form. By the way, the rep said your books are ONLY available in Canada…that does not seem correct.
        BTW have you been to the Newfoundland Caribou Memorial in Newfoundland Memorial Park, Beaumont Hamel, France? It is quite striking, especially for a province which still only inhabits 1/2 million people.
        I wish i had made contact with you years ago, as I worked in Toronto with a ‘Newfie’ who also spoke very good English. I think he may have been able to provide some great insights into the Newfie language and its culture. Especially after a few drinks when the Newfie came out strongly (actually, quite a few drinks).

        1. No, I haven’t been to any of the seven Caribou Monuments other than the one in St. John’s (there’s also one in Corner Brook, NFLD). Besides Beaumont-Hamel, there are Caribou at Gueudecourt, Monchy-le-Preux, Masnieres–all in France–and Courtrai in Belgium. Not sure why there isn’t one in Gallipoli, although I suspect the Turks don’t allow former enemy monuments on their turf.

          Yeah, Newfounese is a puzzling dialect. And there are about two dozen sub-varieties on the Rock, too. I ended up using a kind of patois I invented, otherwise the dialogue would have been impenetrable to non-Newfoundlanders.

          Curious about “None of Us the Same” and “Truly Are the Free” are also definitely available in the US, UK, Australia and Eurozone–I’ve sold plenty–both ebook and print copies–in each. I’m glad you got it sorted and thanks for your diligence. Hope you enjoy(ed) the read. Of course, please post reviews, too!


          1. Will definitely post reviews. I am wondering if you wouldn’t mind offering some sage advice about publishing? I am just in my final ‘developmental edit’ of a manuscript with Historical Editorial, and will have them perform a copy edit when that is done. My topic is WW1, based on the history of my grandfather’s 3 years involvement (1 in Royal Canadian Regiment and 2 with Royal Flying Corps. I have been told it as a ‘good book’.
            While I don’t expect to be a renowned author nor become rich, I do have a goal of becoming published. Have you ant sage advice about how to contact publishers and what to say to them? Are there any that might be particularly interested in my subject matter?
            Thanks for any comments! Greg

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