Tag Archives: out of the sea

Out of the Sea: Prologue

William, September 1886

“Who can that be?” Today’s newspaper lay half folded across William Johnson’s knees. He’d been combing through its pages for work at a cooperage near Fishtown; his apprenticeship had ended eight days prior, and he could not keep working so close to his master’s shop. The visitor rapped knuckles against the wood again, the silence between each knock shorter, more urgent.

Standing, he folded the paper and settled it upon a table beside the chair. Once his father’s chair, the soft, supple leather was lined with thin cracks like an aged face. William thought of his father as he walked out of the parlor and into the foyer. They shared the same first name, but his father had been a whaler, and his face lined not with age but from years of wind, the spray of the sea and smiling. William remembered his father often smiling until the corners of his eyes crinkled. Other differences in their appearance were minor: William wore his hair long, and kept it tied back whereas his father’s hair was cropped short, often uneven from his cutting it himself. Everyone in the family had dark hair and light eyes, but William was the only one with hazel eyes.

Squeezing the latch, he pulled the door open. “Thomas,” he smiled, “come to see Catherine, hm?”

“You, actually.” Thomas walked through the doorway. “If I may.” William noticed his friend wringing his hands, and the crease of his brow. Thomas was short, but carried himself as though he was the tallest man in the room—his back was always perfectly straight and he never craned his neck to look at anyone taller than himself. Some thought this gave him an angry expression but after so many years of friendship, William knew better.

“Of course. What’s happened?” Stepping aside, William offered to take his friend’s coat but his friend seemed disinclined to part with it, leaving him to let his hands drop to his sides.

“I’m here about your father.” Thomas did not budge from his spot in the foyer, and pushed his hands into his pockets. When William did not answer, he continued. “He was murdered.”

A sharp tone hummed in his ears. William wasn’t sure if he heard his friend correctly. His eyes focused on the striped wallpaper beyond Thomas’ right shoulder as he remembered the day, nearly ten years ago, that Captain Matthews stood in this very spot to tell his mother about his father’s death. He and Catherine had spied the scene from their hiding place in the parlor doorway halfway down the foyer corridor. “No, you must have it wrong,” he breathed out, wiping the fresh perspiration from his forehead. “My father died at sea. Captain Mathews said as much himself; he’s a friend of our family’s and wouldn’t lie about such a thing.”

“But he didn’t say how he died. Catherine has told me this before, that your family never really knew the reason. Doesn’t look good, does it, murder aboard his ship? How can you be sure that—”

“You’re wrong, Thomas. Captain Matthews wouldn’t keep it from us if my father had been murdered. Catherine and my mother are upstairs. Perhaps you should leave if you don’t plan on visiting with my sister.”

Thomas shook his head. “I cannot stay now. I’m signing up for Matthews’ ship, the Vance Thurgood. Why don’t you come with me?”

“I’m no whaler.”

“I know. But you’re a cooper now, and a ship always needs a cooper.”

“I think you’d better go now, Thomas.” William reached in front of his friend to open the door, in no mood now to entertain a guest, even if it was his brother-in-law to be. Before Thomas could leave, he asked one more question. “Why didn’t you tell Catherine?”

“I thought I’d speak to you first about it, to see if you ever had any suspicion that your father’s death might have been…something more. I will tell her, unless you want to.”

“No, don’t tell her. It’ll only upset her and besides, if anyone tells her it ought to be me.” Thomas opened his mouth, presumably to protest, but William just shook his head and asked him to come back tomorrow. “I need to think.” He stood at the open door, thinking about the newspaper folded over the arm of his father’s chair. He recalled in his mind’s eye the tiny section listing work needed in various areas of Connecticut.

He thought about his father. Is it better to seek the truth, or let my father’s spirit rest? If he died, William knew he would want someone to seek justice on his behalf…but he also knew that had there been a murder at sea, it was the Captain’s job, ultimately, to seek justice. Was it possible that Captain Matthews did not know the truth…or perhaps he was hiding it? This notion set William on edge. His stomach churned. His heart beat hard against his ribcage. A moment passed before he realized he was clenching and unclenching his fists at his sides. William forced a deep breath and then shut the door before going upstairs to sleep.

Over breakfast in the dining room the next morning, William stood and cleared his throat. Both his sister and mother looked up from their plates. “I have news,” he began, standing from his chair at the head of the table. He glanced toward the wall behind his mother, where a painting depicted the roiling sea beneath a darkening sky. His eyes darted across the room to a portrait of his father and he wished he was making this announcement in a different room. He couldn’t decide whether it looked as though the smooth brush strokes which described his father’s face carried displeasure or concern, or whether he was simply imagining it. So many times, as a boy, he’d looked upon that portrait as though it were his father, here in the flesh. In the man’s long absences, he sometimes found himself whispering pleas for advice at the painting.

“What is it, William?” his mother asked, having turned back to her breakfast in the wake of his hesitation. Ella Johnson was a pale and drawn woman, at least these days. Illness came and went as frequently as the rain, and he worried that his decision might further weaken her, but he couldn’t simply disappear without an explanation.

“I am joining the crew of the Vance Thurgood as their cooper for the next trip out.” Silence met his proclamation, growing heavier with each passing second. The clock in the corner behind him ticked and tocked, and he could hear his own blood rushing in his ears. Catherine was the first to voice her disapproval.

“No, you cannot. You cannot leave us for so long, William. And not on that ship.” She pushed her chestnut-colored hair over one shoulder. Typically she wore it in a loose bun but today it was braided. William traced the contours of the plait with his eyes; it was easier to do that than to look at her eyes, which were usually a soft blue but this morning, following his announcement, had cooled until they were like shards of ice.

His mother, Ella, said nothing, though her eyes filled with tears. “We need the money,” William stated quietly and evenly. “And I need work.”

Catherine stood so quickly that her water glass tipped, spilling a miniature ocean across the table. She hastened to mop up the spill with her napkin, glaring up at him. “Go to Stonington for work, if you must.”

“There’s no work for me in Stonington. Besides which, work is not my only compelling reason to go.” William sat back down. Catherine is getting too agitated about this, he worried. He needed her to calm down, for the sake of their mother at least.

Ella finally spoke. “What other reason can there be? First I lose your father aboard that ship—will you be next? I say to you, William, if you board that vessel I will not speak to you again.” Threatening a lifetime of not speaking had always been Ella’s last resort tactic to encourage her children into compliance. This method always worked in the past.

Not today, William decided. “Father was murdered aboard that ship and I intend to find out who was responsible. Thomas came here yesterday and we both plan to sail on that ship—”

“No!” Catherine’s interruption stopped her brother. “I will not permit both you and he to go aboard that ship. Years, William, years. He and I intend to marry in June. Besides, this is ridiculous. Wherever did you get the notion that Father was murdered? And why wouldn’t Thomas not come to see me? Tell me himself?”

“Thomas overheard it. He didn’t tell you because I asked him not to.”

“William Johnson, you had no right!” she threw the wet napkin down at his feet.
He frowned. “Look, I am going; you don’t have to believe me but you won’t change my mind. Thomas went to sign up this morning—I expect he’ll be calling soon to tell you.” He turned toward Ella. “Mother, I am certain you will speak to me again. I will be gone long enough for you to forgive me.” He tried to catch her eye, but Ella looked away.

“Father died long ago, William. Let him rest.” Catherine pushed away from the table and strode out of the dining room. Ella left more quietly and soon William sat alone with his plate. He did the only thing he could think to do, which was to eat; it might be a long while before so sumptuous a meal was laid before him. The Vance Thurgood was to sail on the following morning’s tide. After he finished eating breakfast, William picked up Catherine’s chair and the napkin before he went to sit in his father’s old chair.

The leather was smooth under his fingers; he couldn’t even feel the cracks he could see. “How you must have longed to sit here again,” he murmured. “How you must have thought you someday would. I will find out how you died, and if you were murdered, I will find your killer, Father. I swear it.”

 

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Burn, baby, burn–Spicing up your fiction with a blaze, or other disasters

I‘m not going pyro-crazy…at least not outside of the pages of fiction.

In my story, Out of the Sea, I was originally going to burn down a whole building, but on my walk yesterday, during which I devoted much of my thought to the need to work on repotting some of the book, I determined that much more than a building needs to burn down. I won’t reveal more than that because I don’t want to spoil the story—I do hope you will someday read it (no pressure obviously as I’ve not finished writing it).

Sometimes, when writing historical fiction, it’s easy to fall into the position of “this didn’t happen so I don’t want to write that it did.” But sometimes, rules were made to be broken. I’m not saying not to have British colonize in America (unless you’re going for an alternate timeline type thing, in which case, go for it).

What I am saying is that sometimes when it feels like your plot is lagging, what you need is a horrible and traumatic event that will throw your readers around in a big circle like they’re riding super-charged teacups at Disneyland.

Don’t be afraid to pull the proverbial rug out from under your characters. Like all things though, balance is key. Don’t go overboard and start taking the Day After Tomorrow tact of just destroying everything in a completely unbelievable event (frosty air does not chase people like an icy specter). Don’t be afraid to keep your reader on his or her toes.

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Splitting a Chapter

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Yesterday I was working on my instructor’s edits for Chapter One of Out of the Sea for my 7th assignment with LRWG. Originally, my prologue and chapter one were just under 4,000 words.
Now, both of them together are around 6,000 and I haven’t even put in my own edits yet! Now, I don’t have anything against the occasional long chapter but as I’m reading through this one again and again, I’m thinking it really ought to be in two chapters. Here’s why:

1. There are two main points of tension—the first is in the middle of the chapter right before an action scene. The second is in the latter half of the chapter.

2. As it stands, between the chapter and prologue, I’m introducing almost ten characters. I feel this is a lot for my reader to get to know in one fell swoop. (To be fair, almost half of them are introduced in the prologue, but it’s still feeling to me like I’m just throwing character after character at my reader and saying “try to keep up!”)

3. Rightly so, my instructor asked me to spend a little bit of time explaining the ship and what my character’s role on it is. I think I want to give my reader a whole chapter to get used to this new and important setting that is as much a character as it is a place before I start throwing them about into action scenes.

Originally, I had crafted a nice little hook at the end of my chapter one. That can stay in place but I will have to decide how I want to transition where I split the chapter into two. The other thing to consider is that the reader won’t be back to this scenario again until Chapter 3, as I’m switching off between brother and sister POVs every other chapter.

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Revised Prologue for Out of the Sea

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For the Long Ridge Writer’s Group course I’m taking, Shape, Write and Sell Your Novel, I’m working on my second to last assignment, which is to revise my prologue and chapter one.

I’m not going to post the entire assignment, because it’s around 5,000 words. But I’m offering up the revised prologue. This is the 3rd revision the prologue has undergone, and it’s the 4th revision for chapter one. After I receive notes from my LRWG instructor, I will likely make one more revision and then call the prologue and chapter one finished. It’ll feel good to have a part of this book completely edited.

Of course there’s always more to be done to make any writing better. But at some point it has to be “finished.” Otherwise I’ll just keep editing this for the rest of my life. Feel free to let me know what you think; I’m always open to constructive criticism.

Download the Out of the Sea Prologue.

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From my LRWG Instructor

I promised I would share with you the reflections from my latest assignment, which was Chapter Three of Out of the Sea.

Welcome back, and thanks for updating me on the storyline. I like the changes you’re making.

Your parallel plotlines are working smoothly. They don’t feel at all episodic, and I like the way that the ending of chapter three prepares the reader for the jump to Catherine.  There’s good tension throughout the chapter, with rising conflict and some excellent imagery. I’m particularly impressed with your research and the details of the ship.

Re William’s plan to win over the men, it seem excessive and foolhardy. Here’s an idea: initially, he might offer to make some trinkets or do some little repairs for the other men as a way to win them over. Only after overhearing David does he decide that more drastic action is needed.

In a couple of places, I wanted reminders of what people looked like (Thomas on page 5, the captain on page 16). And on page 6, we could use a reminder of who David is, which might involve a physical description as well.

Show the closeness between William and Thomas. They seem awfully formal with each other. Surely they’d finish each other’s sentences at times, perhaps nod knowingly at shared references, and overlap their dialogue.

Small stuff: A few times I got confused about who “he” referred to, as you’ll see. I’ve also deleted some adverbs. And I caught repetitions of men leaning against railings and William being startled by people’s voices.

Good reading and excellent progress!

 

Of course, she also made helpful comments to Chapter Three but I’m not going to post that right now because I’d rather say wait until the book is written and then you can read it all together, in the proper context.  I’ve always thought though that my instructor gives a balanced critique–with some improvements to be made as well as comments on what works.  Of course, as with any correspondence class, you get out of it what you put into it, and having a great instructor is crucial to a positive experience.

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Out of the Sea: Plot is Solidifying

As many of you may already know, I’ve been working on Out of the Sea now for near four years.  The plot has evolved since then, particularly when I began approaching it from a parallel plot situation.  But I still wasn’t pleased with the way the plots came together at the end.  This morning I made some decisions that should tie everything together with far more strength than my original plan.  Aside from making me exceedingly happy, this calls to mind the notion that plot is fluid, and for me, is only finalized when my final draft is written and ready to share with the world.

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A Snippet of Chapter 2 from Out of the Sea

CHAPTER TWO

April, 1888

 

Six months have already passed since William and Thomas sailed. Why haven’t I heard from them? Catherine knew her brother hoped to find the truth quickly, but she’d not yet received a single letter, and stared out the window with a bitter taste in her mouth.

“The tea tastes poor to you as well?” her mother asked from across the table.

“Oh, I hadn’t noticed. I can buy some more today.” Catherine watched as a wagon drove by outside, pulled by a Clydesdale horse. When it passed, the town green, empty in the morning hours, once more filled the window frame. “Is there anything else we need?”

“Yes, but we can’t afford much.” After another sip, and a sour puss expression, her mother stood from the small table in the corner of the kitchen and retrieved a list, handing it to Catherine. “Can we sell anything else?”

Catherine glanced around the room. Faded wallpaper gave evidence to where artwork once hung on the walls. The shelves over the basin were barren save for one cooking pot and a white layer of dust. “Nothing from here.”

“Sell your father’s clothes,” her mother whispered reverently.

“But—” Catherine frowned. They had already sold his watch, his compass and his books.

“Don’t argue with me, I beg of you.” Her mother’s voice shook though her body stiffened, her hands clenching at her sides.

“Very well. I’ll pack them this morning.” After finishing her tea and washing up, Catherine climbed up into the attic. The roof was pitched so that she had to hunch over and walk in the center. The only light streamed through a small window that reminded her of a porthole on a ship.

Her father’s trunk sat beneath the window; she knelt before it and eased open the lid. The smell of the sea—salt and mustiness—wafted around her, but she welcomed it. The clothes smelled like her father, and just sitting before the large wooden sea chest brought a smile to her face. She could almost feel his arms around her—his hugs after a long journey at sea always made her feel as though their large colonial was a home once more.

His pea coat was the first item she pulled out of the chest. Navy blue and wool, it matched just about every coat worn by every other sailor save for one detail: a line of stitching on the left breast where the fabric was repaired after an accident at sea. She trailed her fingers over the thread sutures that held the wool together. He never revealed the nature of the accident but said this was his lucky coat after that, and that it would keep him safe. I wonder if he wore this the day he died.

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Feedback for Chapter Two

Yesterday I received feedback from my Long Ridge Writers Group instructor on Chapter Two for Out of the Sea.  In this chapter, I’m not only switching to a much less frantic setting, but also switching my POV character.  I was most pleased with her reply which stated that I successfully met my goals in this chapter.

  • Establish my character’s financial problems
  • Set up tension between her and her mother regarding her engagement to another character
  • Introduce the character who will vie for her consent to marry despite her being engaged to someone else
  • Add more tension by introducing her mother’s illness, which will carry through most of the story.

After I’ve done some light editing per my instructor’s suggestions and highlights, I will post an excerpt of Chapter Two!  Stay tuned :)

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