As I’ve been working on The Rebel’s Touch and Atlanta & the Lion and Other Tales, I’ve begun to notice a pattern: I tend to write about young-ish women who have lost a male authority figure in their lives. I did the same thing with Catching the Rose and Haunting Miss Trentwood. The fact is, the topic fascinates me.
You see, my father has played a huge role in shaping my life. For the longest time, his morals were my morals. His rules were my rules. His ideas about relationships were my ideas about relationships. To think of a life not shaped by my father, or any male authority figure, boggles my mind. I explored the idea of what happens when a girl doesn’t have a father to protect her from an arranged marriage she doesn’t want; how does she take care of herself when her mother can’t help her (Catching the Rose)? I explored the idea of what happens to a girl whose father had shaped her daily existence due to his illness but when he finally succumbs she has to pick up the pieces and start living her own life (Haunting Miss Trentwood).
The short story I’m reworking for Atlanta & the Lion is unnamed as yet; it might be called “The Friendly Suffragette,” or “Killing with Kindness,” or “A Smile with Arms.” The heroine has lost her grandfather, and she has joined the suffragette movement as a way to fill her days. The tactics of the other women don’t seem to be making headway, so, she tries something radical: she offers hugs to those who need them.
First off, as an aside, can I tell you how frustrating it can be, writing historical fiction, sometimes? I was halfway through writing the story when I realized I didn’t know if the word “hug” was something someone would say around 1913. Thanks to the internet, I now know the word “hug” was first used to mean “affectionate embrace” as early as the 1650′s. So phew.
I’ve had a couple people comment that Haunting Miss Trentwood is unsettling because it’s about a father dying and haunting his daughter. Totally understandable. The beginning of the book is a true gothic tale but it descends into silliness fairly quickly once Mr Trentwood starts quipping his one liners. I learned from that book to establish the level of silliness as soon as possible so the reader knows what to expect.
In The Rebel’s Touch, I keep paring back the plot. First, it was to be about the Underground Railroad. The heroine, Tempest Gray, was to have stumbled onto a group of slaves and their guide at the shore of the Ohio River. She gets kidnapped, and discovers that the man who kidnapped her has no memory… but when he touches her, he remembers something. Throw in a greedy father and mother who want to marry her off to the local rich man who has access to food stores despite the blockade on the Confederacy, and you have one convoluted, confused mess of a book.
The Rebel’s Touch is no longer about the Underground Railroad. A shame, because I bought a bunch of books on the topic and am now somewhat of an amateur historian in regards to Ripley, OH and its Underground Railroad celebrities. The book is now set somewhere in Kentucky, Lexington, I’m guessing, because I will be there this fall and so will have access to their libraries and historians if I can plan everything properly. It’s still about a girl who finds a man without a memory… but in the days after the Civil War, and thus is a story about the American Restoration. As always, I’m beginning my journey with this book by hunting and gathering images to inspire me, which you can follow on Pinterest.
The first sentence goes something like this:
Everyone else remembered it as the day the president died, but Tempest Gray remembered it as the day the man with no memory fell from her tree.
Looking forward to the restart of this adventure. Not sure where the father-daughter relationship will come to play, but since the theme has emerged in my other works, I expect it will manifest soon.