The Making of a Trilogy by Eileen O'Finlan

 

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When I wrote my debut novel, Kelegeen, historical fiction set in Ireland during the Great Hunger (aka Potato Famine) I wasn't planning on writing a sequel. I thought all the way through that it would be a stand alone. It wasn't until I completely rewrote the first draft that thoughts about what might happen to the characters after the story's ending started coming to mind. I was nearing the end of the rewrite when I made the decision that a sequel was necessary. I even ended Kelegeen in such a way as to lend itself to a continuation.

Next came Erin's Children. Erin, in this case, is not a character, but refers to Ireland (think erin go bragh), and her children are those who emigrated to escape starvation. 

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My first inclination was to set it in Boston as many Irish settled there at the time. I live in central Massachusetts so Boston is just under two hours from me. I figured I could get out there a few times as part of my reseach. Fortunately for me, I mentioned it to someone at work who told me of a great book about the history of the Irish in Worcester. 

Worcester is the city in which I work and very close to where I live. I changed my mind and, instead, decided to set it here, and I am so glad I did. What a great time I had researching the history of the city in which I've spent the majority of my life! I learned so many fascinating things, many of which I was able to incorporate into the story. After publication, I even had a request from a group of readers to give a walking tour of one of the sections of the city in which a large portion of the book takes place. It was a real joy and a wonderful way to connect with readers.

As with Kelegeen, when I finished Erin's Children I thought I was done with these characters. But, also, as with Kelegeen, they refused to let me go. So now it's on to research for the third in this Irish trilogy. I can hardly wait to dive into more of Worcester's past. This time the focus for the book will be on the next generation, so I'll be looking at the post American Civil War era of the 1870s and 1880s. 

For many writers of historical fiction the research is just as enjoyable as the writing, and I am no exception. Now that I have completed work on my next historical novel, The Folklorist, which will be released by BWL Publishing in October of 2023, I can focus on a deep dive into late Victorian-era Worcester. Yes!

The End of the Story...by Sheila Claydon

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Writing a book is a mix of things: a hard slog, moments of elation, moments of recognition even, and of course a lot of staring at a blank screen. A writer's mood can swing from depression to excitement from one sentence to the next. And then, when the last i is dotted and the last t is crossed, there is the editing. The acknowledgement that the section in chapter ten that seemed just right, no longer works. Nor does the timeline in chapter twelve. What has been missed out? What has been forgotten?

Once all that has been rectified to the writer's satisfaction, and all names and dates checked and double checked (yes, I did accidentally change the name of the heroine for a couple of chapters in one book, which would not have been a good look if the mistake had gone to print!) then it is the turn of the publishing editor, who will inevitably find a whole lot of other things that need attention.

While all that is going on there are a couple of other things that is very important indeed. The title. The cover image and the blurb (the short description that will hopefully persuade a browsing reader to buy the book).

This can be both the best and worst of times. The blurb cannot be too long but nor must it leave out the kernel of the story. The cover image must fit with the most up-to-date publishing style while at the same time show what the story is about, and finally the title. This can be the most tricky thing of all. Does the writer use the name of one of the characters, as I did in the first two books of the Mapleby Memories series, or is it better to find another link within the story.

It took me quite a while to find a title for my latest book (due out in April) and in the end it wasn't really me who found it, but my teenage granddaughter! She was staying with me for a few days and we were discussing her English homework and, because she naturally has a very quirky way of looking at things, she was explaining to me how once, when she was given a topic to write about, with a title, she was almost at the end before she realised she hadn't tied it to the title at all. What did she do? She wrote a final paragraph cramming everything in and, believe it or not, got good marks!

I didn't do that of course but it really made me think. Was there something that had featured throughout the book that could be used in the title? I re-read the whole thing and realised that there was. The moon!  Because the story stretches across the centuries the events that took place were observed by many a moon. I had the title. Many a Moon not only trips off the tongue, it is quite a memorable phrase and, when I re-read the story I realised I had indeed used a moonlit image quite frequently. Admittedly I did copy my granddaughter a tiny bit by inserting a couple of extra moons, but only two, and then the book was complete.

In April readers will be able to discover what the moon saw. Until then I have one final edit and then Many a Moon: Mapleby Memories Book 3, the final book of the trilogy will be published, with a cover, a blurb and a title I really like. I hope readers do too. 

Finding a story...by Sheila Claydon

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I'm often asked about writing a book. Do I plan it chapter by chapter? How do I develop my characters? Do I ever use real people? Do I ever suffer from writers block? Do I suffer from deadline stress? Yet strangely, the one thing I am rarely asked is what triggers a story? Yet to me that is the most interesting part of writing.

I can pinpoint the taking off point for every story I write, and it can sometimes be something that happened months or even years before that has been quietly sitting and waiting for its chance to shine. At other times it is almost instant. Take Reluctant Date for example. It is set mainly in an (anonymised) place where I had such a wonderful holiday that much of its geography and ambience is lifted directly from that experience. It didn't take me long to decide to find a heroine either. She more or less leapt at me from a magazine article about dating websites. I find that once I am focused on a story everything else seems to fall into place. I'm not sure if it's because I am looking or whether the characters are just out there waiting until I decide to tell their story!!

In Kissing Maggie Silver it was the photo of an interesting looking girl in an advertisement that started it. That, and yet another holiday where a countryside ranger took us on a trek. I just put them together.  Whereas  Mending Jodie's Heart was triggered by a house, a horse, and a bridle path!

As they say, every picture tells a story. And I can remember why I wrote every single one of my books just by looking at the cover. A sepia photo for Remembering Rose, a cruise from NewZealand to Australia for Cabin Fever, a magazine article for Finding Bella Blue, and so on and so on. 

Now, however, it is time to write a new book but one that is part of a trilogy, a follow-on from Remembering Rose and Loving Ellen. This makes it a little more difficult as part of the story is already there so whatever my trigger is, it has to fit with the previous two books. And that's where old ideas come in. The ones I've had on the back burner waiting until I'm ready. And this time the trigger is another photo, but not of a person. It is of an old and derelict watermill. 

The mill is at least 600 years old. I came upon it unexpectedly a few years ago when I was walking my dog in woodland, and I was so intrigued by the fact that none of the local people seemed to know anything about its history, that I took several photos and stored them away for future use. And now seems to be the right time for it to take its place in my next book. Those who have read the first two books in the trilogy will already know quite a lot about the village of Mapleby. What they won't know, however, is how times are changing for the villagers, and the old mill has quite a lot to do with that.

It's half written. It hasn't got a title yet, and it won't be published until June next year, but without the old mill it might not have happened at all. So here's to story triggers and to the writers who recognise them and store them until the time is right. In the meantime, I have to get back to my writing.