The Boy on the Rocking Horse - the Heroism of Growing up.

Boy on the Rocking Horse in London'd Trafalgar Square acknowledges ‘the heroism of growing up’, though Lord Nelson turns his back on the new artwork.
Unveiled in Feb 2012, Elmgreen and Dragset's 'Powerless Structures, Fig. 101' depicts a classically proportioned young boy atop a flat rocking horse.
According to the Telegraph.co.uk, the 4.1m high statue is the fifth contemporary artwork to adorn the empty plinth in the Fourth Plinth Project series, which has become an annual fixture in the London culture calendar and is considered a great honour for an artist.
In this artwork, the artists have created a twist on a traditional equestrian portrait, which instead of celebrating military victory and commemorating fame, acknowledges the “heroism of growing up”.
The artists wish that ‘in generations to come (they) hope that there will be a future where we won't have to have so many war monuments’. They ask, "Why do we have this tradition to put people on horseback if they have won a battle? What do we want to say by doing that?”
(www.telegraph.co.uk)

Portsmouth, Gunwharf Quay - The Noon Day Gun

Dwarfed by the Spinnaker Tower on Gunwharf Quay, this gun is a Royal Naval 12 pounder forged in 1810. It is one of the oldest guns in the world which is still fired regularly. Originally mounted on the deck of a man-of-war, it was capable of firing up to 1421 yards. It needed a crew of 8 men and on board would have been served by a ‘powder monkey’ who delivered the cartridges from the magazine.

As light travels faster than sound, observers of the noon time signal would watch for the smoke from the muzzle rather than listening to the sound of the cannon.
Several cities around the world which maintains the tradition of firing daily signals including Edinburgh Castle, Fort Henry in Kingston, Ontario, Signal Hill in South Africa and Vancouver

The Trafalgar sail - from HMS Victory

 

 

Note: This post was published in 2012. I have now updated it (Oct 2014) and the revised and improved post is at the link "Trafalgar Sail - a legacy of the Battle". 

Thank you
Margaret Muir

 

The Trafalgar Sail – Britain’s most important maritime textile – the fore-topsail from Nelson’s HMS VICTORY’s
For me the most poignant artefact held at the Portsmouth Historic Dockyard is this immense sail. Damaged at the Battle Trafalgar (1805), it reveals the holes made by French cannon balls during the famous sea battle.
It is enormous - the size of a tennis court and weighs more than a third of a ton. Taking up the whole top floor of one of the buildings, perhaps only a third of the sail is visible. Unfortunatley, photography was not permitted, so I can only show a copy of the poster describing it – but I stood within a meter of it and was awe-inspired at its sheer size and history.
For 100 years during the 19th century it was displayed at Chatham but for 30 years of the 20th century it was stored and ‘lost’.
In 1993, however, conservation work began which lasted 12 years. Today it is regarded as Britain’s most important maritime textile which provides information on sail making in the Nelson era.

Anyone for Skittles?

Hidden Skittle Alley - 19th century nautical style.

In the undercroft of the Greenwich Royal Hospital for Seamen is a Games Room. It was built in 1860 to provide entertainment for the old sailors.
The lanes of the alley were made from decking planks taken from sailing ships at the Deptford dockyard. The skittles are belaying pins (around which the ship's lines are fastened) and the bowling balls are practice cannon balls made from lignum vitae – a hardwood used for making ship’s blocks.
The Skittle Alley was only used for a few years by in-patients, because the Hospital closed in 1869, however, it was made use of for 125 years till 1997 by members of the Royal Naval College.

Sea Cadets at Portsmouth

Standing on the Saluting Platform at Portsmouth, I was amazed to see a tall ship heading into The Solent. I don't know her name but on the fore-topsail are the words Sea Cadets.
It was not hard for me to image the ships of the Napolenonic era passing in front of the Saluting Battery - all that was missing was the guns.

HMS Victory stripped to the bone

This pic shows the bulbous shape of Victory's hull and if you look closely on the port side you can see some of the original timbers dating back to the mid 1700s.
Over the years much of the ship has been replaced and rebuilt but deep within the vessel it's easy to pick the timbers which are originals.

In her present state of undress, HMS Victory modestly hides her undergarments!
Beneath the awning it is obvious the outer planking has been removed from the hull on the larboard side. What you can presently see are original timbers from the time Victory was built at Chatham.
"The order for the Victory to be built at Chatham was signed by the Navy Board on the 7th July 1759. Work started almost immediately and the first timbers, those for the keel were brought together at the Old Single Dock on the 23rd July 1759 .
Once her frame was complete she was left to ‘season in frame’ - a process that would normally take six to twelve months - but in the case of Victory lasted for many years - until the Seven Years War had ended - Launched on 7th May 1765 she was completed and fitted out - not for war but for the reserve fleet." (Chatham Historic Dockyard website).

Turkish cannon

This Bronze gun was cast in 1790-91 during the reign of Ottoman Sultan Selim 111. It weighs 5.2 tonnes and fires stone shot of over 56 kgs.
It was one of a pair captured by Admiral Sir John Duckworth from Kinali Island in the Sea of Marmara in 1807.
The elaborate cast iron gun carriage was made later by the royal Carriage Department at the Royal Arsenal in Woolwich. Its decorative plaques denote British naval victories.
It now stands outside the National Maritime Museum in Greenwich.

Royal deer in Richmond Park

Deer have run wild in London's Richmond Park and appear tolerant of visitors. Probably introduced as game for the royal hunts (bow and arrow), even today they are not immune to the shooter's aim. It is almost time for the annual cull, so some of these magnificent animals will be targetted by the marksmen.
I posted this article on Facebook and was surprised at the number of comments it drew regarding culling/killing/hunting and the ecological balance of nature.
Interesting.

The 16th century Turkish Gun - London

The Turkish Gun in Horse Guards Parade was captured by the British after the siege of Alexandria during the Napoleonic Wars, in 1801. It was transported to Horse Guards Parade (London) in 1802.
The barrel made in 1519 almost certainly saw action at the successful siege of Constantinople by the Ottoman Turks in 1543.
The embossed details on the barrel itself are wonderful but those on the carriage are even better, although the carriage was made later by J&E Hall, of Dartford in Kent.
The inscription on the barrel reads:
The Solomon of the age the Great Sultan Commander of the dragon guns (to be made) When they breathe roaring like thunder. May the enemy’s forts be raised (sic) to the ground. Year of Hegira 931.

Palace of Placentia - Greenwich, London

During a recent visit to Greenwich with the Historical Novel Society, history was revealed in

The Undercroft (cellars) hidden beneath the Old Royal Naval College.
It was here, in 1427, the Duke of Gloucester started building a palace near the river named Bella Court.
In 1447, Margaret of Anjou, wife of Henry VI, renamed it the Palace of Placentia.
Henry V11 did extensive rebuilding and here, in 1491, that Henry V111 was born.
He lived here with Katherine of Aragon and Anne Boleyn.
Elizabeth 1 was born at Placentia in 1533.
By the mid 1600, after falling into disrepair, the palace was demolished and rebuilt in the classic style by Charles 11.

The Coronation Stone – 10th Century

This uninspiring chunk of greywether sandstone was used during the coronation ceremony of six Saxon Kings between the year 900 and 979 AD – Edward the Elder, Athelstan, Edmund, Edred, Edwy, Edward the Martyr and Ethelred the Unready. It can be found a few yards from the river at Kingston-upon-Thames where the coronations took place.
The stone was first mentioned in print in 1627 by John Speed who wrote: AT KINGSTON LIKEWISE STOOD THE CHAIR OF MAJESTY WHEREUPON ATHELSTAN, EDWIN AND ETHELRED SATE AT THEIR CORONATIONS AND THERE RECEIVED THEIR SCEPTER OF IMPERIAL POWER.
The stone is mounted on a heptagonal base bearing the king’s names. The ornamental Saxon-type railing with seven spear heads was designed in 1850.

Cruising with the mega-ships - Yes or No?

Having disembarked from a two week cruise to the Mediterranean, the next morning I watched the ship steam out of Southampton heading south again. It’s the first time I have sailed on one of the mega-ships (though certainly this is not the biggest on the sea) carrying over three and a half thousand passengers plus nearly half that number of crew.
Would I sail on such a big ship again? No.
For me it was too big and too impersonal - like a floating city – it had a main street with shops, bars and boutiques running the length of the inside. It had an ice rink, a theatre which accommodated about 1300 people, water-surfing and a rock-wall to scale amongst all the other entertainments which for me made it like a Butlin’s Holiday Camp on water.
But then I am a single traveller who prefers sailing to flying and goes cruising in order to enjoy the sea and the ports of call the ship visits.
It will be a smaller vessel next time - for sure.

Margaret Muir interviewed by Elizabeth Cauldfield Felt

September 15, 2012
Today I’m welcoming Margaret Muir, author of Sea Dust, the nineteenth-century story of a young woman who hides aboard a ship bound for Australia hoping to create a new life for herself; Through Glass Eyes, a saga set in Yorkshire; The Black Thread, a dramatic tale set on the Leeds and Liverpool canal in 1898; The Condor’s Feather, an equestrian adventure across the Pampas of Patagonia in 1885; and Floating Gold, the first in a series of naval adventure novels set during the Napoleonic Wars.

Elizabeth: Please tell us more about your most recent novel, Floating Gold.

Margaret: Floating Gold is an Age-of-Sail nautical fiction adventure, written for a male readership especially those who enjoy the works of CS Forester (Horatio Hornblower) or Patrick O’Brian (Master and Commander). Set in 1802, Captain Quintrell is entrusted with secret Admiralty orders and heads to the Southern Ocean aboard the Royal Navy frigate, Perpetual. Battling unforgiving seas, near mutiny and freezing Antarctic waters, the captain is unaware of the dangers awaiting him when he reaches his destination.

Elizabeth: Sounds exciting! You are currently writing the second book in the series. What will be happening to the main characters in this next instalment?

Margaret: In The Tainted Prize, Captain Quintrell and his motley crew again head south but this time the destination is Peru. Drama and intrigue lie ahead, however, action on the gun deck is tempered by the undertone of political unrest which is simmering in the Spanish vice-royalties in South America. Also of concern is the vast number of African slaves being transported to Peru to work and die in the silver mines. This raises questions about the social, economic and human cost of the slave trade.

Elizabeth: Many of your novels are nautical adventures or involve the sea as a setting, almost as a character. Would I be right in this?

Margaret: Yes indeed, Elizabeth, and thank you for your observation. Both for me and certain characters I create, there is definite affinity with the sea to the extent that it almost takes on a character of its own – a dual character that can be either male or female. The masculine Sea (metaphorically speaking) is dominant, powerful, cruel, exciting and mischievous, manifesting himself in violent storms and turbulent currents. Conversely, the feminine Sea is beautiful, mesmerizing, gentle and evocative.

Here is an example of this personification from The Tainted Prize:


For Oliver Quintrell, the sea was his comfort and companion and, when licking the salt from his lips, he had no doubt she was his mistress. Despite her foibles and fickleness, moods and mysteries, she was soft and sensuous – beguiling in her calms and tantalising in her tantrums. She was the force which heaved beneath him every day and lulled him to sleep every night. By constantly challenging him, it was the sea who made him fearless (not reckless), and it was the sea who would receive him into her arms on the final day of reckoning.

Elizabeth: How much historical fact is woven into your fiction and how do you go about your research?

Margaret: As all my stories are woven around imaginary characters, it is the time, place and setting that provides the historical elements. Floating Gold and The Tainted Prize take place against a backdrop of the Napoleonic War in the early 1800s. This is a well-documented era and there is no shortage of information about it, however, primary source material written by sailors who served in the Royal Navy at the time, or copies of original ships’ logs are most valuable for research.

Walking the gun decks of an original man-of war like HMS Victory provides a valuable insight into life aboard a fighting ship, and in October, I will be re-visiting Victory and the Historic Dockyard in Portsmouth. After that, I will sail to Gibraltar to learn its history and experience its atmosphere first hand, as it will be one of the settings in my next book. Academic study of the Napoleonic Era, the Atlantic World and the Age of Revolution has provided me with background material to pepper my books. And, last but not least, sailing as a crew member aboard various tall ships has left me with an insatiable appetite for the sea.

Elizabeth: Enough of your books—tell us about yourself.

Margaret: I was born and bred in Yorkshire, England but moved to Australia in 1970. For twenty-five years my priorities were my career in Cytology and raising a family, and it was not until I was made redundant in the mid-1990s, that I had time to do things I had always wanted to. One of these was to write. The other was to sail on a tall ship. The tall ship came first followed by a BA (Writing) which led to my first novel, Sea Dust (2005).

Though it is many years since I left England, it was the moors and the rugged Yorkshire coast that I called on for the settings of my first three books. And while world travel is something I have enjoyed in more recent years, this also has had a considerable influence on my writing. Visits to South America and the Antarctic Peninsula directly inspired the settings for my novels, The Condor’s Feather and Floating Gold. Today, I live in Tasmania, an Australian state settled in the early 1800s from convict stock. It is called the Island of Inspiration and its history has inspired me to, one day, write a book about one of its infamous Bushrangers.

For the month of September, you can purchase Sea Dust on Kindle for $0.99:

Floating Gold is on Kindle for $2.99.

Margaret Muir’s other titles are available on Kindle and as paperbacks via Amazon.

SEA DUST - 5 star review

Sea Dust has all the elements of a gothic romance, but with a maritime setting. The author writes with rich and metaphorical language, creating vivid, spellbinding imagery. The story begins in Whitby, England. It is mid-winter, 1856. Emma gazes out of the attic window where the body of her dead baby girl lies.

"The fishing port, nestled in the valley below, was shrouded in white. Snow covered the docks and wharves, the sand flat - Belle Island, and the hills and open moors beyond. Across the valley, the ruins of the old Benedictine abbey wore a vestal veil. Only the treacherous face of the crumbling East Cliff had escaped the winter mantle." (from Chapter 1)

The descriptions are beautifully evocative, but Emma is no innocent young maiden waiting to be swept off her feet. She is a mature woman, mother of a teenaged boy, about to go off to sea. Her marriage has gone bad and her life is closing in on her. The sea offers tortured Emma her only means of escape from a brutish, violent husband and a bleak life. But the sea is fraught with its own dangers, Emma discovers after she sneaks aboard an outbound ship with the help of a French seaman she is attracted to.

Margaret Muir is quite at home in her nautical setting and she knows how to build suspense. She chillingly portrays the dark side of romance in an era when women were second class citizens at the mercy of men; to be coddled, adored, or scorned and abused as they saw fit. I could relate to Emma's untenable situation and I cheered her on in her quest to be loved and respected while becoming the whole person she was meant to be.

A gritty, unsettling story in the guise of a nineteenth century romantic novel. I highly recommend it.

Review author - Linda Collison
For September, SEA DUST is on sale on Amazon Kindle for $0.99

Jane Austen and Patrick O'Brian - Bridging the gulf between

Though their stories are set in a similar era, there is a gulf between the historical romance novels of Jane Austen and the maritime fiction of Patrick O’Brian. The divide between these two extends beyond obvious gender difference and the genres in which they write, to the readership they attract and to the authors who attempt to emulate them.

Jane Austen is acknowledged as the quintessential Georgian Romance writer, while Patrick O’Brian and CS Forester are recognised as the masters of nautical fiction set in the Napoleonic period. Yet, born 100 years after Miss Austen’s death, Patrick O’Brian has been called ‘her rightful heir’ (Kirkus Reviews).

Jane Austen’s empathy for naval officers stemmed from having two brothers who served in the Royal Navy during the Napoleonic Wars. Both rose slowly through the ranks from mere midshipman to Admiral. But despite her close affiliation with, and knowledge of the navy, Austen did not attempt to write in the sub-genre of maritime fiction. Similarly, while Patrick O’Brian (author of the Jack Aubrey/Stephen Maturin series) allowed love interests to filter into his novels, as did CS Forester in his Horatio Hornblower series, neither wrote genre romance.

In the past, writing romance in the Austen style has been and, for the most part, still is the domain of female authors. Conversely, writing in the sub-genre of nautical fiction set in the age-of-sail has been, and still is, the domain of male writers.

But it was not only the writers who fell into this distinct divide. In the past, the readership they attracted reflected a similar distinct male/female split. Generally, females read romance and male readers read maritime fiction. These unsubstantiated variants still appear to apply to a greater extent however very slowly the worm is turning. Today, more male readers are attracted to Austen’s novels, and increasing numbers of women are savouring heroic sea stories set during the Napoleonic wars. Perhaps the in-home TV presentations of ‘Pride and Prejudice’ and ‘Sense and Sensibility’ have introduced men to Miss Austen. Similarly, the ‘Hornblower’ series, and the epic movie ‘Master and Commander’ have brought nautical fiction to the screen and introduced this genre to a general, rather than a mostly select male audience.

So, apart from the media, what other factors are bridging this gulf? Today, women feature almost as much as men in ocean racing and sea-faring achievements. Only a few decades ago, women who enlisted in the navy did not step aboard a ship, yet recently, a woman was appointed as commander of a British Royal Navy Frigate. Today, the navy is no longer an exclusive male domain, and maritime fiction is no longer just read by men.
But there is one area where the great divide still appears to be anchored in tradition. It relates to the authorship of the two historical sub-genres. As stated earlier, it is accepted that female authors write romance. A few male authors cross the divide, with some opting to write romance under a female pseudonym. From my observations, authorship of age-of-sail maritime fiction is accepted as being exclusively by males. For many years Forester and O’Brian have been the respected authors of classic Georgian age-of-sail novels. More recently, new names have appeared, such as Alexander Kent, Julian Stockwin, Richard Woodman and many more. But there are no female names on the list. It would seem, therefore, that for the female author, this is a difficult sub-genre to enter and gain acceptance in.

To compete in either genres, writers must know their craft. Just as authors of Georgian Romance must be conversant with the society of the day, the accepted behaviour, mannerisms and dress etcetera; the prerequisites for writing nautical fiction is a thorough knowledge of tall ships, historic sea battles and familiarity with all the bells and whistles of the Royal Navy in Napoleonic times. But is this sufficient for a female author to gain a foot on the ladder of the male dominated sub-genre?

From my own experience, having had four historical novels published, my fifth novel, Floating Gold, was a maritime fiction adventure. As an apprenticeship to writing this type of story, I sailed on several tall ships. I crossed the Atlantic on a barquentine and cruised most of the world’s oceans including the Southern Ocean and crossing Drake Passage to the Antarctic Peninsula. I have hauled on ropes, climbed the mast, taken the helm and immersed myself in the days of wooden ships. I have also visited numerous historic vessels and walked the decks of many.

But a knowledge of tall ships is not the only prerequisite to be competitive in this sub-genre. More importantly, the author must be capable of writing an engaging story, and be familiar with the historical facts in order to form the framework on which the story can take shape.

Having graduated with a BA (Writing) in 2004, I returned to University in 2010 to learn more about the Age of Revolution, the Atlantic World and the events of the Napoleonic Period. Just recently, I completed a second maritime fiction novel titled, The Tainted Prize. This is a sequel to Floating Gold, and my second book in this male dominated domain.

Just like the length of time it takes for a young midshipman to rise to the rank of admiral, I imagine it will take some years for female writers to rise up the list of accepted authors in the narrow and rather exclusive sub-genre of nautical fiction. But, I believe the worm is turning. Or, should I say, the tide is on the turn.

This first appeared on MORGEN BAILEY’s Guest Blog – 6 Sept 2012
Thank you Morgen.

BARBADOS BOUND by Linda Collison (review)

In order to gain what is rightfully hers, Patricia Kelley, a young lady, brought up in Britain, makes the brave decision to return to the island of Barbados where she was born. With no money, the only way for her to get there is to stowaway on a sailing ship bound across the North Atlantic.

While struggling against both the elements and her emotional shipboard relationships, Patricia succeeds in establishing a role for herself (albeit disguised as a youth) as mate to a ship's surgeon.

Linda's intimate knowledge of tall ships, the sea and medical practices provide the reader with a convincing picture of life on both land and sea in the 1760s.

BARBADOS BOUND is a well written and engaging story. It was first published as a Young Adult novel by Knopf under the title STAR CROSSED. In this edition Collison has revised and refined the story turning it into a compelling adult novel. It is written in the first person from the point of view of Patricia/Patrick MacPherson. This gives the reader an intimate association with the main character.
Recommended.

HELL AROUND THE HORN by Rick Spilman (review)

In HELL AROUND THE HORN by Rick Spilman (e-book for Kindle), the author conducts the reader on a journey they will not easily forget.

From the hustle and bustle of the wharf side in Cardiff, we are introduced to the crew of the LADY REBECCA. The ageing windjammer, loaded with a cargo of coal, is set to sail from Wales, UK, to a port on the west coast of South America following the route taken by the famous clipper ships around Cape Horn.

By 1905, the days of the great commercial sailing ships were dying, but Captain Barker is intent on challenging the notorious Horn once more. He is so confident, he takes his wife and children with him.

Barker’s choice of sailors is both wise and eclectic. Some men have experience, others little, but one is dangerous – a fact that only becomes evident as the story unfolds. Facing unsympathetic winds, the dreaded Doldrums, fire on board and near mutiny, after two months sailing and over 8000 miles from home, the ship reaches the point of no return. Ahead is the notorious Horn with the menacing winds and currents which are associated with it. Barker takes up the challenge and proceeds even though the sea is intent on swallowing his ship.

It is here that Spilman’s personal experience as a tall-ship sailor comes to the fore. His awareness of the sea, the dangers, the excitement, the fear, and man’s vulnerability in a vast stretch of wild Ocean allows him to paint an unforgettable image – one of the best storms at sea I have read.

The story is told from several points of view including that of the Captain, the Apprentice and the Captain’s wife, though she has a minor role and could possibly have been omitted from the cast.

In the extensive section of glossaries and notes at the end of the book, Spilman explains that his inspiration for writing HELL AROUND THE HORN stemmed from a voyage of a ship named, ‘British Isles’.

Apart from his extensive writerly experiences and seamanship, Spilman is also a naval architect which explains why his knowledge of ships and sailing are second to none. While ‘HELL AROUND THE HORN’ is his first published novel, I look forwards to reading more work from this author.

M.C. Muir (author of FLOATING GOLD) in conversation with George Jepson (Quarterdeck)

Do you read the historical fiction and nautical fiction of your contemporaries? Have any in particular been inspirations for your writing?
I read nautical fiction but little general historical fiction. It was C.S. Forester who inspired my enthusiasm for the age-of-sail. His Horatio Hornblower series is exciting, easy to read, and, without being didactic, conjures up scenes and events to create a real sense of adventure. Of course, I have sampled, Alexander Kent, Julian Stockwin, Richard Woodman and others, not forgetting Patrick O’Brian, but Forester would have to be my favourite. Like everyone else, my reading time is limited and today it is nautical non-fiction, set in the age-of-sail, which I devour. Books I have particularly enjoyed, and use for reference include: ‘Jack Tar’ by Roy and Lesley Adkins, ‘Nelson’s Favourite’ by Anthony Deane; also real-life stories such as ‘Billy Ruffian’ by David Cordingly, the memoirs of Admiral Lord Cochrane, and ‘A Mariner Of England: An Account Of The Career Of William Richardson From Cabin Boy In The Merchant Service To Warrant Officer In The Royal Navy (1780 To 1819) As Told By Himself’. Books, such as the latter, provide a reminder that all sailors serving on His Majesty’s ships were not unintelligent louts, but honest, hardworking, and often literate men.

When did you begin writing? Was writing your first career choice?
I began writing late in life after a career in Cytology (microscopic detection of cancer), working full time and raising two boys. But in the mid-1990s my busy lifestyle fell in a hole. I had a personal brush with cancer, lost my elder son to illness at the age of 25, was made redundant from my job, and my marriage broke down. By the late 90s, I found myself with time on my hands, so decided to do the things I had always wanted to do. One was to sail on a tall ship. The other was to write.
Over the next few years, I entered university and in 2004 graduated with a BA (Writing). My first book was published in 2005 and four others followed. It was prior to my study that I signed on for a 12 day voyage on an 1853-style barquentine, STS Leeuwin 2 which sails out of Fremantle (Western Australia). That brings me to your next question.

Where did your interest in the sea originate?
Joining the ship in Exmouth on the coast of Western Australia, with 40 other trainees, was a little daunting. But it was on this voyage, sailing north to the warm tropical waters of the Indian Ocean, hauling on lines, furling sails and taking the helm, that I became hooked on the sea. Sitting on watch one night, I witnessed the tiny marine bioluminescent particles shining in the bow wave – flashing like tiny fireflies – and it was this spectacle which inspired my first book, ‘Sea Dust’. Despite suffering sea-sickness, numerous similar sailing experiences followed on replica vessels, sail training ships and on a 23-day sail across the North Atlantic. Apart from travelling under sail, I have cruised to destinations I would not otherwise have visited, such as around the coast of South America and to the Antarctic Peninsula – the location that features heavily in ‘Floating Gold’.
From an historical point of view, I have visited many tall ships and national maritime museums and will be revisiting the Portsmouth Historic Dockyard later this year. Over the last two years, I returned to university to improve my knowledge of the Age of Revolution and the Atlantic and Colonial Worlds. I love to learn perhaps as much as I love to write and it is hard sometimes to know how to prioritize the two.

What most appeals to you about the early nineteenth century in which Floating Gold takes place?
The late 18th century and early 19th was a time of enormous change. It was the time when revolutions swept through France, North America and the islands of the West Indies. It was a time when life was cheap and death came quickly, and those heroes, made in battle, are still remembered today. But this period also saw the glorious days of the wooden world come to an end. From Henry V111 time, British sailors went sea in fleets of fighting ships and by the late 1700s mighty men of war, such as HMS Victory, were being constructed in private and naval dockyards along the English coast. But after Trafalgar, the death knell for such vessels was sounding. Soon the clang of iron, and the clatter and hiss of steam engines would replace the thrum of the wind in rigging, the luff of a sail and the creak of a yard. As the age-of-sail died, so did the sense of adventure and the intangible magic it personified. It is the magic surrounding the era of fighting ships which appeals to me and which I try to recapture on paper.

Did you have any second thoughts about entering the already well-populated naval fiction genre?
Because I write whatever grabs my imagination, I never thought twice about entering the male dominated world of maritime fiction. Subsequently, however, I have discovered the pitfalls of being a female writer in this sub-genre. Firstly, for any author, age-of-sail nautical fiction is a very narrow field, and one could argue that the 20 year period of the Napoleonic wars has been done to death. C.S. Forester and Patrick O’Brian are revered as the classic Georgian fiction writers and for decades their voluminous works monopolized the arena. More recently, they have been followed by a number of authors wishing to compete for this narrow window. All have been male and many had naval backgrounds. Naturally, these sorts of credentials make an author’s work more attractive to a publishing house, for it is the author’s career the publisher is promoting not just the book.
For an older female author, therefore, with limited credentials, publication in this field is a challenge. However, having been previously published in Britain, I approached Robert Hale Limited, requesting that ‘Floating Gold’ be published under a pseudonym (even Patrick O’Brian preferred not to use his own name). But the publisher would not accept my argument. Recently, I received a letter from a gentleman in England complimenting me on my work. He told me that he would not have read ‘Floating Gold’ as it was written by a female had not the library insisted he give it a try.
Perhaps I should have considered the publication problem earlier.
However, as I look back and finish my work-in-progress, I am reassured by the increasing number of female sailors now crewing on tall ships, those sailing single-handed across the world, and, just recently the appointment of a female commander to a British naval frigate.
I believe a book should stand on its merits, irrespective of the writer’s name, and it is up to the reader to pass judgment.

Your protagonist, Captain Oliver Quintrell, is described in great detail. How did you create him?

Oliver Quintrell is a figment of my imagination and not based on anyone I have ever known.
He is aged 32 years and, as a post captain, has responsibility for one of His Majesty’s frigates and her crew. I have received a couple of comments about this character portrayal. Firstly, that he behaved more maturely than his 32 years, and secondly, that he showed little emotion in the face of death.
I would argue that in the late 1700s boys moved directly from childhood to manhood minus the intervening teenage years as we know them today. Children were sent out to work before reaching the age of 10, and during their lives men and women witnessed death on a regular basis. For a ship’s captain death and dying, be it in battle or as a result of illness, was a familiar sight. Life expectancy, for a male in Britain, in those days, was 38, therefore I feel that Oliver Quintrell at 32 years would have been a fully mature man who was not greatly troubled emotionally by morbidity.

Do you write the sort of story you would like to read, or do you write strictly for readers?
I write for my pleasure, as one must these days, because writing is very time consuming and, for the majority of authors, is not lucrative. I do not write for a specific audience but I aim to produce a piece of work which will engage the reader and capture and hold their attention from cover to cover.

Do you plot out your novels before beginning to write? AND At what point in the process do you begin writing?
No, I don’t work to a plot. Writing usually begins with ideas flashing thorough my head. I may conceive a rough outline of where a story/or ship is heading. With my work-in-progress, the ship is sailing to Callao in Peru, but the twists and turns which happen on the journey come as much a surprise to me as to the reader. Some books take shape from a single idea, such as the marine luminescent particles in ‘Sea Dust’. Having written that scene first, I then back-tracked and wove a story around it. Sound crazy I know, but it works for me.
With ‘Floating Gold’, I read a news article about a lump of floating gold washed up on a South Australian Beach. It intrigued me and inspired a novel. Of course the places I have visited, the things I have experienced, plus a good dose of imagination, combine to provide the raw materials for my writing.

Are there more sea adventures on the horizon for Oliver Quintrell and his mates?
I have titled my work-in-progress, ‘The Tainted Prize’. The story sees Captain Quintrell, Mr Parry and several other officers and crew aboard the frigate, Perpetual, set sail on a voyage around South America. The year is 1803 and war with France has resumed after the short period of peace. I hope to have this ready to present to a publisher by July.
After that, Oliver’s next mission will be to the colony of New South Wales (Australia) and I already have a few ideas on paper.

From the author:
Firstly, I would like to thank, George Jepson and Quarterdeck for this interview.
Secondly, if you embark on my latest novel, ‘Floating Gold’, I hope you will derive as much pleasure from its pages as I did from writing it.
Thirdly, the sequel to ‘Floating Gold’ – THE TAINTED PRIZE – will be out shortly.

FLOATING GOLD available from Amazon.com, Amazon.co.uk and Lulu.com

Monument to THE CHILD WHO WAS NEVER BORN The anguish of Abortion. The time of Forgiveness.

Undoubtedly, this is the most poignant memorial I have ever seen.

It was commissioned by a group of young mothers who had lost babies through abortion and was created by art student, Martin Hudáček of Slovakia.

“The sculpture shows a woman in great sorrow grieving her abortion. The second figure is the aborted infant, presented as a young child, who, in a very touching, healing way, comes to the mother, to offer forgiveness.”*

In the sculpture, the child is  transparent - a figment of the mother's imagination - a fleeting apparition - an angel.
I believe the statue speaks equally to women who have lost a child through miscarriage.

Surprisingly, in a novel I wrote several years ago, before seeing this picture, I featured an elderly gentleman whose past held a dark secret. In his effort to unravel the mystery, he made a practice of wandering through graveyards looking for an inscription on a grave to A CHILD WHO WAS NEVER BORN.
The reason he searched was because his young wife had died when she was carrying their child and when she was buried the child was buried within her.
Because the infant was never born into the world, it was never given a name. It also never had a date of birth or death, and it never had an inscription on a gravestone, not even on its mother's.

When I saw this memorial dedicated by a group of women to the unborn child, I was touched. I too have lost a child, but not an infant.
In this memorial, the artist has captured two remarkable images - the heart-rending anguish of abortion and the loss of a child whose image can only be conceived by the mother.
Beautiful.

* April 2, 2012 (https://www.lifesitenews.com/news/heart-rending-young-slovakian-sculptor-captures-post-abortion-pain-mercy-an).
THE BLACK THREAD by Margaret Muir is available on Amazon.

A readers is touched by THE BLACK THREAD

Having read one of my other books, a reader wrote:
Well, you have done it again, brought me down to a crying baby with THE BLACK THREAD, it was so lovely, and the characters were so nice...except for a couple that is.
I started reading it about 10.30pm last night, had some sleep, woke at 7.45am and did not get out of bed till 10.15am today...I just had to finish it.
Next one to read is the SEA DUST...right beside my bed ready to go tonight. Will I need tissues???

Author - Margaret Muir was inspired to write this story after visiting some of the British canals a few years ago.

FLOATING GOLD - a review by George Jepson, editor Quarterdeck magazine of McBooks Press

Captain Oliver Quintrell languishes on the beach. It is July 1802 and a troubled peace has swept across Europe in the wake of the Treaty of Amiens. Unemployed officers in the RoyalNavy besiege the Admiralty in London, seeking any sort of commission.
On the streets of Portsmouth, Jack Tars –unafraid of press gangs – are at loose ends. Anchorages bristle with the masts of ships slowly rotting away in ordinary.
On the Isle of Wight, Quintrell is summoned to London, where Admiral Viscount St Vincent tells him “You will have your ship, Captain … Elusive is a 38-gun frigate … chosen, not for its size or the number of its guns, but for its speed and versatility.”
Elusive, sailing from Portsmouth harbor under “secret orders,” is bound for the Atlantic and points south, in company with a merchant convoy.
Driving into the South Atlantic, the frigate leaves the convoy, setting a course for its clandestine destination – an island in the Southern Ocean. On this island the government believes is a treasure, which Britain desperately desires to assist in financing what it believes will soon be the resumption of its naval war with France.
Finding the treasure is the trick, for Quintrell’s orders do not specify in what form it exists or whether, in fact, it does exist. The Admiralty’s missive only concludes, “Your voyage is of vital importance. Succeed and England will be forever in your debt.”
Unstated is what will happen if he fails.
Margaret Muir, writing with a keen familiarity with wooden ships under sail and the early nineteenth century Royal Navy, charts a course with enough danger to keep ardent armchair admirals on edge, as Elusive – aptly named – tacks ever deeper into the frigid southern seas, with icebergs threatening ship and crew alike. Her prose tickles the senses, as the aroma of Stockholm tar wafts off the pages, along with sheets of salt spray. And she is equally adept at creating captivating characters, and, in particular, Oliver Quintrell, a competent, but flawed, sea officer.
Muir is a welcome addition to the nautical fiction genre.
George Jepson

http://www.amazon.co.uk/Floating-Under-Admiralty-Orders-ebook/dp/B008K9E3FQ/ref=sr_1_1?s=digital-text&ie=UTF8&qid=1345106634&sr=1-1
Note: FLOATING GOLD is available as an e-book on Kindle.

THE BLACK THREAD a review by EA Harwik

THE BLACK THREAD by Margaret Muir is one of those gorgeously rare stories that keeps bubbling along with unfolding detail designed to capture and tease all who take pride at being able to visualise what will come next.

Set in Yorkshire just prior to the 20th century this book will engage the reader with beautiful descriptive local detail woven into a well timed fictional saga of deprivation, loss, escape, fear and discovery. Plus THE BLACK THREAD holds an extra treat via a very standard build-up to the usual happy-ever-after being interrupted and replaced with the most unexpected and grandly wonderful catch and capture imaginable. Simply marvellous; five stars.

Thank you, EA Harwik.

Reader loves THROUGH GLASS EYES

What a lovely email to wake up on a morning to.
It read:
"I have just finished reading 'The Twisting Vine', I just loved it, started crying on the last few pages, I loved the finish, such heart and mind you have. My husband and I were telling each other about the books we have just read, and I was telling him about this one, got towards to finish and started crying again, I was all choked up, ple
ase write a lot more books. This one is the first I have read, and I am looking for the rest of your books to read, wish me happy searching."

(This is the large print edition cover - from Ulverscroft and available through libraries).

Note: THE TWISTING VINE, was the title chosen by the publisher. But it was written under the author's working title of THROUGH GLASS EYES. Which title do you think is most appropriate?

SEA DUST (revised) paperback - Reviewed on HNS

Just discover this review of SEA DUST by Rachel Malone on behalf of Historical Novel Society.
Make no mistake; Sea Dust is a gritty book. There’s an edge to Margaret Muir’s writing that makes you feel every bit of emotion experienced by Emma Quinlan. From the death and burial of her infant
daughter, to the cramped conditions in the tiny sailor’s loft; to the terror she feels at sea, the reader is experiencing everything along with the character.

Sea Dust is absolutely gripping. Muir’s talent for writing is so good you can almost feel the salt spray of the sea and smell the tar on the ship. Sea Dust is a highly recommended read.
Rachel Malone
http://historicalnovelsociety.org/reviews/sea-dust/

Note: In July, SEA DUST was released as a Kindle edition through KDP (Kindle Direct Publishing).

The Queen's Quill Review - Interview with Margaret Muir

From THE QUEEN'S QUILL REVIEW
Interview with Margaret Muir: From Mainstream to Indie


When contemplating the pitfalls in Indie publishing, we forget at times that pitfalls exist in mainstream publishing as well. Margaret Muir, author of Sea Dust and four other historical fiction novels, talks about some of these problems and explains why she eventually chose to self-publish. Welcome to Margaret Muir and thank you for doing this interview!

Your books (The Condor’s Feather, Sea Dust, and The Twisting Vine, for example) were originally published by Robert Hale in the UK… How were you originally picked up by Robert Hale? Did you seek out an agent or did a publisher find you? Can you describe the process you went through?

Ten years ago, apart from journalistic articles, I was unpublished as an author. Having only recently been inspired to write a novel, I joined a rather elite writers’ critique group. This included a couple of multi-published British authors. Having read extracts from my first manuscript, one of these authors (who prefers to remain anonymous), suggested I contact her agent in London. I believe she mentioned my name to him, so when I sent in my sample chapters, after being instructed to make several major changes to the story and its contents, my historical fiction novel was accepted for representation. My own experience was, therefore, similar to Helen Hollick’s – a case of knowing the right people.

Once in the hands of the agency, the manuscript (Sea Dust) was submitted to one of the major publishing houses but was rejected. It then went to Robert Hale Ltd, who accepted it for publication. The offer, however, was very nominal, but as a new author, I was over the moon and accepted.

Robert Hale is an independent publisher with an excellent reputation-what was it like working with them?

Hale Books (London) is a very well-respected and old, established family business. When I joined their stable in 2004, this small publishing empire was overseen by octogenarian Mr John Hale. Working closely with their very professional staff on my first three books was a real pleasure, but staff changes over recent years saw a loss in the previous intimacy and subsequent lessening in standards of the finished product (in my experience).
One thing I did not realise, at the time of signing with Hale, was that they were in the business of producing hardback books to supply to the British libraries. These were high-quality publications with commissioned artwork for the jacket covers. But only about 400 copies were ever produced at a commensurately expensive price. Hale Books were never distributed for sale through retail outlets and, apart from sending out a handful of review copies, there was no marketing.

By 2005, I had written my second book under the title 'Through Glass Eyes' but the company rejected my choice of title. It was, therefore changed to 'The Twisting Vine'. This was a disappointment to me. The story features a French Bru doll which hovers in the background throughout the 25 years of the saga. I felt my title was appropriate but bowed to the publisher’s wisdom. (I have subsequently reverted to my original title.)
Another problem which occurred with this novel was that the agent had held the manuscript back for six months before presenting it. Later the publisher told me I should have followed up on 'Sea Dust' immediately. Heigh ho! I felt I had no control. I was being managed and published but not necessarily to my best advantage.
'The Black Thread' followed in the same publishing style – library copies only. And like, Sea Dust, even though it sold out completely in a matter of weeks, it never went into re-print. In my opinion, the cover image for this hardback was dark and depressing but this was out of my control.

Written in the contract was a clause that Hale could retain paperback rights for six months following publication of the hardback. But, at that time, Hale did not follow up with paperbacks, so my historical fiction novels never went any further.
By the time 'The Condor’s Feather' was published, the staff at Hale had changed several times and the professionalism from the new young editorial staff was lacking. Edits were not followed through, and review copies were sent to inappropriate locations. Sadly this was only the fault of a couple of staff members, but, for me, it reflected on the company.


When and why did you eventually decide to self-publish all of your books?

In 2010, my fifth book, 'Floating Gold', was published by Hale under my own name, but it did not sell well. I had argued with Mr Hale that a seafaring adventure of the Horatio Hornblower style, written for a male readership, with no romance or female characters, would not perform under a woman’s name.
He said I had an established British readership (through the libraries) and he wasn’t prepared to let me use a pseudonym.
I argued that my female following would not be interested in a classic age-of-sail maritime adventure. 'Floating Gold' was published in 2010 but it went to print with about 150 uncorrected editing errors and performed poorly. Six months after publication, I asked Hale for reversal of my rights and was granted them on all five novels.

In my view, all my titles were dead in the water. They had never seen an audience beyond the walls of the UK lending libraries, had never been offered to retail outlets, and never been presented overseas, including the USA. I decided, therefore, to self-publish my books in paperback, not with a view to making money, but to giving my books a new lease on life and letting them breathe again for a while.

Can you talk a bit about what you found in the self-publishing world when you started on this path?

To use a cliché, as anyone who has ever looked into self-publishing knows, it’s a jungle out there. Dozens, if not hundreds of companies are offering to ‘publish your book’ – but at a cost! And the cost involved can be staggering. I personally know authors who have been stung for thousands of dollars in up-front costs, and, as a result, have thousands of copies of their much-loved masterpiece gathering dust in a garage. It is likely the whole experience has soured their hopes and killed their writing dreams. The advice I would give anyone proposing to self-publish is – do your homework first, and be very wary.
Not wishing to be inveigled into such schemes, I opted for Lulu.com
This American company will produce books for you as a self-publisher on a POD (print-on-demand) basis. They even supply the ISBN free of charge, if required. If you only want one book, that’s fine – and you will only ever pay for one book. Nothing more. I can’t speak for Smashwords or Createspace*, as I have never used them, but I believe they operate on a similar basis.
Books produced by Lulu appear on Amazon, but one must remember that a book on the internet will not sell itself. You must still do your own marketing and promotion.
From a physical production point of view, Lulu is relatively simple to follow. There are explicit instructions and templates for uploading your Word document. Creating a jacket cover is as easy as transferring an image from your computer and following a few easy steps. You don’t have to be a computer wiz to do it. Plus, self-publishing gives you full control over your jacket or e-book cover, and with photo-shop programs, you can produce an appealing design which will help sell your book.
Once your book is finished (within hours, once you get the hang of it), your only financial obligation is to buy a single copy. If you want to make changes to the book – then you upload your revised WORD document and produce another. Again you must pay for it. But this has to be better than parting with thousands of dollars.

What are your thoughts about the quality of Indie and e-books right now?

Indie books: Regarding Indie-books, I can only comment on standard-sized Lulu paperbacks. In my opinion the external quality is very good, both in paper and jacket covers. However, the book’s content, the quality of the written word, syntax, presentation of dialogue and paragraphs, and spelling, is up to the author.
E-books: Generally, the biggest problem I have encountered with self-published e-books is the poor quality of formatting. A poorly formatted book can be most distracting for the reader. This may deter the buyer from purchasing any other e-books produced by that author.

Today (2016 update) Createspace and LULU allow authors to upload their manuscript directly from their own WORD document to a pre-formatted template, E-book for Kindle can also be uploaded as a WORD document. 

I was attracted to Kindle Direct Publishing (KDP) and opted to go Kindle 'Select' which means all my books are exclusively sold by Amazon (as against Apple, Kobe or other e-book outlets),
As with paper publishing, there are companies offering, for a cost, to format and upload your manuscript for you. But one you get the hang of it, it is no difficult and KDP are very helpful.

Do you have any suggestions for authors who are considering self-publishing?

I can only re-iterate: do your homework, thoroughly. Visit lots of sites which are offering publishing help, and read other writers’ experiences on blogs such as this.
But first, decide what you want as an end result. If you are looking for instant fame and fortune, then forget it. Ask yourself, are you prepared to do your own marketing and promotion? Are you wanting a book produced in a matter of days or weeks rather than waiting for a year for a publishing house? Do you have money to burn or are you operating on a limited budget?
Then there is the question – how long are you prepared to keep submitting manuscripts to agents and/or publishers and being rejected? If you have confidence in your work, have had it well edited and proofread, then I would recommend taking the plunge. Publish your first book and then start writing another.
As I said, with Lulu or Createspace books, promotion and publicity is up to you, but even some of the large publishing houses expect their writers to source reviews and use the social networking sites to best advantage.

(Update - 2016) I now have over a dozen books published on Kindle with KDP. and have just completed the fifth book in my age-of-sail series The covers shown in this post has subsequently been changed.

It is an exciting, fast-changing time in the publishing industry which is offering plenty of opportunities for the writer. Technology is advancing at a rapid rate and self-publishing processes are getting easier. But, keep in mind, a badly written book is still a badly written book even if it appears in a gilt-edged cover. I wish you luck.

In conclusion, I would like to thank Andrea Connell of The Queen's Quill Review for inviting me to share my experience on the Queen’s Quill. I would also like to extend my thanks to Bob Tanner, my past agent (died 2009), for giving me a kick start in the industry, and to Robert Hale Ltd for putting my by-line on five books. (Robert Hale has subsequently closed down as a publishing house after decades in the Business.

For more information on Margaret Muir
Ref: www.margaretmuirauthor.com
www.margaretmuirauthor.blogspot.com

*Note: Since posting this interview, I have published several more books in the nautical fiction series. During that time, I have also moved from Lulu.com to Createspace.com aand changed several of my cover images. Both companies offer similar POD facilities for publishing but Createspace is more closely aligned to Kindle Direact Publishing (KDP - Amazon).

Publishing your book with Kindle Direct Publishing (KDP) - my experience

Print books are fine but they are expensive.
When my books were first published by Robert Hale Ltd, London, they were produced in hardback.
The recommended purchase price in Australia was $54 dollars. But who is prepared to pay that amount for a novel written by an unknown author.
Copies even cost me (as the author) $35 to buy a copy.

Today, e-books are sweeping the market - and I say 'good on them!'

Through Kindle, e-books are selling for anything from zero to $10.00 and more.
Authors who publish independently can set their own price and have the opportunity to promote their books with freebies ($0) occasionally.

I think an attactive price is $2.99 or $3.99 and, although I have bought a couple that have cost $9.99, I have subsequently felt a little cheated and wrtten to the publishers saying that I felt their prices were too high.

Having taken the bull by the horns, I have decided to convert all my books to the Kindle KDP e-book market. They will sell exclusively through Amazon.com and Amazon.co.uk

But another problem with indie-produced books is that some look very amateurish. The editing is poor and the formatting leaves you feeling dizzy.

Because of this I opted to pay to have all 5 of my books formatted professionally.

I chose to use Custom-Book-Tique
The company is in Canada (and I live in Australia), but that has no bearing.
Maggie, the proprietor, is helpful, efficient, but most of all, the range of services she offers is broad and her prices are very competitive.

Having sent my first WORD document manuscript to her, I was delighted to find the conversion completed in a couple of days. And the presentation of my book on my Kindle reader is first class.

I believe e-books are the way to go. But whether you have been traditionally published in print by a leading publishing house, or you are a first time budding writer who believes their work is worth publishing, I encourage you to go ahead, but get some professional help both in the editing and formatting before offering your books to the world.

The pics are of two of my book covers which I designed myself using Power Point. I will post on images shortly.