We’re welcoming Sarah Kennedy, author of The Altarpiece, to the blog today. I reviewed her novel yesterday (my review) and I really enjoyed it. Of course the fact that it takes place during the reign of King Henry VIII and has to do with a priory certainly has a lot to do with that but aside from that the book is very well written and engaging. Today Sarah joins us with a guest post entitled Talking History…
Every writer of historical fiction struggles with dialogue. Historical detail requires research, but it’s not terribly difficult to check up on yourself to make sure that the characters are wearing the right clothes and eating the foods appropriate to the time period. When people talk, though, the words need both to feel accurate and to be readable. Deciding where to modernize grammar, contractions, and syntax without violating the sense of being in the past is tricky—and there’s no key to doing it right.
When I was writing The Altarpiece, which is set in Tudor England, I had a notion of how people might have actually talked. I teach the sixteenth and seventeenth centuries, and I’ve read a lot of letters, legal documents, and literature from the period. Sometimes the language is surprising—I think of the student in my course on Early English Drama who, when we were acting out The Revenger’s Tragedy, encountered a character who calls his father “dad.” She stopped our in-class acting with a raised hand. “Dad?” she asked. “Did people back then really call their fathers ‘Dad’”? Well, apparently they did, though it seems startlingly modern to us. When Hamlet says, “To be or not to be, that is the question,” he’s speaking in a way that’s both deeply philosophical and completely modern. That is the question, after all, isn’t it? His uncle Claudius, who’s just taken over the throne, stops in the middle of a long speech about a political enemy and says, “So much for him.” It’s very modern-sounding, and if it’s acted right, audiences will burst out laughing. In a more sinister moment, when Othello demands of the villain Iago that he produce “the ocular proof” that Desdemona is “a whore,” audiences are often taken aback by what sounds like language from a recent legal whodunnit.
But readers of Renaissance literature stumble over the contraction “’a” for “he” and syntax like Hotspur’s complaint that a line on a map that gets into his territory “comes me cranking in” to mean “comes moving in on my space.”
Some novelists try to recreate this old diction by sprinkling words like “mayhap” and “’tis” into their dialogue without doing much else to make their characters talk like people from an earlier century. That’s one solution to the problem, though it seems too easy to me. Another is to throw historical diction and syntax to the proverbial winds and have characters talk like contemporary people. Hilary Mantel has chosen this route, and Philippa Gregory does it quite often. These are two very different writers—Mantel more interested in the nuances of character and Gregory more involved in the broad sweep of consequential events—but they have both gained a wide readership, partly, I think, because their dialogue is very readable.
When I started writing dialogue for historical characters, I was writing poetry, which imposes its own demands on dialogue. I was taken to task for inverting syntax in a poem about Biddy Early, the so-called Wise Woman of Clare. Another character said, “Say she’s a witch, / they still will . . . ” and a friend called this “Yoda-speak.” I defended my poem on the grounds that Yoda talks this way because the Star Wars writers and directors were trying to make him seem mythic through old-fashioned dialogue, but I could definitely see her point. I couldn’t, in a novel, just mess around with word order and call that historical dialogue.
I tried writing without contractions. This provided a more formal, removed sound, which to my ear rang a note of something far away in time, but English-speaking people have always used contractions. Without them, the dialogue sounded stilted and odd, especially after 85,000 words. And reading it aloud was impossible. I found myself dropping in contractions—I just couldn’t help it.
Sigh. I finally decided to take a middle road. I began to write in fairly natural modernish English. I say modern-ish because I tried to be faithful to certain expressions of the time without overdoing the antiquey-ness. My characters might say “Forgive me,” but they don’t say “Oh, sorry.” They could say “Maybe we’ll have rain and be saved from the drought,” but they would never say, “I wish we’d get a downpour, and fast, because the fields look so awful.” If they say that something is “awesome,” it had better be an event that inspires the kind of admiration usually reserved for God, and the only things that are “epic” are the works of Homer and Virgil.
I do find that when I read from The Altarpiece, I modernize the contractions even more, and I’ve been asked about this. I explain, as I do to my creative writing students, that listening is in some ways harder than reading. Listeners don’t get a second chance; they can’t go back and reread for clarity, so if there’s anything that needs explaining, it must be done before the reading begins. Dialogue goes by quickly, and I add contractions to let listeners comprehend more easily.
That said, I do get frustrated by writers who drop anachronistic words, references, and attitudes into their historical dialogue. Characters who predate Freud shouldn’t “project” their feelings, and if they are living before Copernicus, they shouldn’t speak trippingly of the earth turning around the sun. Did historical people understand psychology? Of course they did—just read any of Wyatt’s sonnets if you doubt it. Did people understand that the earth was round and not flat? Yes, they did, and Shakespeare puns on the name of the Globe Theatre frequently to link it to both the earth and the human head (where exactly is Hamlet’s “distracted globe”?). But neither Hamlet nor his creator would have talked about the heliocentric universe without enormous anxiety, and they wouldn’t have called it “anxiety.” “Doubt,” perhaps. “Skepticism,” maybe, or even “sin.”
So how does a writer know when to modernize and when to be strictly authentic? With clothing, food, medicine, means of travel, and belief rituals, authenticity is absolutely necessary. How people talk is a different matter. We inhabit two worlds when we open a piece of historical fiction, and we need a way to let our own time give way to that older one. Dialogue can provide that way, because it’s individual and flexible, as well as bound in a particular time and place. It’s the aspect of historical fiction that invites us into the minds and emotions of historical characters—and lets us live, love, suffer, and succeed right along with them.
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About The Altarpiece (from Knox Robinson Publishing)
It is 1535, and in the tumultuous years of King Henry VIII’s break from Rome, the religious houses of England are being seized by force. Twenty-year-old Catherine Havens is a foundling and the adopted daughter of the prioress of the Priory of Mount Grace in a small Yorkshire village. Catherine, like her adoptive mother, has a gift for healing, and she is widely sought and admired for her knowledge.
Catherine’s hopes for a place at court have been dashed by the king’s divorce, and she has reluctantly taken the veil. In the remote North, the nuns enjoy the freedoms unavailable to other women. England is their home, but the times have changed, and now the few remaining nuns dread the arrival of the priory’s new owner, Robert Overton. When the priory’s costly altarpiece goes missing, Catherine and her friend Ann Smith find themselves under increased suspicion.
King Henry VIII’s soldiers have not had their fill of destruction, and when they return to Mount Grace to destroy the priory, Catherine must choose between the sacred calling of her past and the man who may represent her country’s future.
Book one of The Cross and The Crown Series.
Read an excerpt
Buy at Amazon, Amazon Canada, and B&N
About Sarah Kennedy (from Knox Robinson Publishing)
Sarah Kennedy is a professor of English at Mary Baldwin College in Staunton, Virginia and the author of seven books of poems.
She holds a PhD in Renaissance Literature and an MFA in Creative Writing.
Sarah has received grants from both the National Endowment for the Arts and the Virginia Commission for the Arts and is currently a contributing editor for Shenandoah.
Sarah will publish a series of novels with Knox Robinson centering around the sixteenth century closure of the monasteries and convents of England by King Henry VIII.
Sarah’s website
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GIVEAWAY DETAILS (US/Canada)
I have one copy of The Altarpiece by Sarah Kennedy to share with my readers. To enter…
- For 1 entry leave me a comment entering the giveaway.
- Tweet, share on Facebook, or Tweet for 2 extra entries.
This giveaway is open to US and Canadian residents (no PO boxes) and I will draw for the winner on June 12/13. Good luck!
Thanks to Sarah Kennedy for one of the most interesting guest posts I’ve read in a long time. And the book sounds wonderful. Thanks for the giveaway.
lcbrower40(at)gmail(dot)com
Please enter me.
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lizzi0915 at aol dot com
This post was fascinating and this novel would be memorable. Thanks for this giveaway.
What a wonderful giveaway. Intriguing. Many thank s.
Really enjoyed the interview, I never thought about nuances of authenticity of dialogue before (but then, I’m a reader, not a writer). Looking forward to reading “The Alterpiece.”
I’ve always loved Margaret Frazer’s novels and was so sorry to hear of her passing. The topic of The Alterpiece sounds somewhat similar and an interesting Tutor series.
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Thank you for the giveaway!
Oh, looks like a fantastic book, and a must read for me 🙂
Thank you!
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oops, dyslexic – typo in email: jslbrown_03 at yahoo dot com
My tweet – https://twitter.com/LuLu_Brown24/status/339783586267922435
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Shared on FB – https://www.facebook.com/lisa.brown.50364592/posts/10200663380099535
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I loved this post – so informative. Please enter me in the giveaway.
The post was wonderful and it was so interesting to hear Sarah talk about how important using the authentic dialogue is.
I tweeted.Guest Post with Sarah Kennedy, author of The Altarpiece & Giveaway (US/Canada)
I am a follower with email kathleen.bianchi@ymail.com
What a great post.email follower lomazowr@gmail.com Twitter follower@rhondareads will tweet
I love historical fiction from this time period.
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Tweeted: https://mobile.twitter.com/lag32583/status/339861809404198913
Your post could have been written just for me, Sarah, as I’ve had to work through my own decisions about historical language, At first I had my main character, John, avoid contractions but the dialogue just wasn’t real. Finally, I opted to use more up-to-date language so that readers could read along easily. Interesting that you talk about this very thing. Great post!
I really enjoyed this post. I didn’t realize it was so difficult to write historical speech.
lafra86 at gmail dot com
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This book sounds perfect for me!!! I love all things Tudor and I have read a number of books that say this one is really good. Thanks for the chance to win a copy!
I tweeted: https://twitter.com/candc320/status/340081390706102272.
I’m so interested to hear all of your responses! I love talking about history, mystery, reading, and writing, so I’m happy to be joining you all in this conversation!
Very interesting interview. It certainly peaked my interest in reading this book.
tmrtini at gmail dot com
This looks so great! Thanks for sharing with us! I adore that cover as well.
Did the author have any say on the design of the book cover? Also, who in the author’s life encouraged them to sit down and write their first book?
Thanks for the giveaway!
mestith at gmail dot com
I am not sure who motivated me to write my first book! I started with poetry and kept writing more and more narrative poems . . . then suddenly Catherine was looking out a window and I leapt to the right-hand margin! It is something of a mystery to me (so to speak, ha!).