August 2001 - Issue 28

Historical

It repeats itself, or so they say... History!
We view the possibilities of using historical data
to create profit for you.

ALSO...

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Back Issues

RESEARCHING THE WESTERN NOVEL
by Gwen Choate

THE DOG DAZE OF SUMMER
by Robert Nailor

TURN YOUR HISTORICAL RESEARCH
INTO CASH
by Lucile Davis

FROM ANOTHER ANGLE
by Susan Long Turner

GETTING IT RIGHT: THE IMPORTANCE
OF HISTORICAL ACCURACY
by Terrie Murray

POTATOES
by Syd Dunne

RESEARCHING THE WESTERN NOVEL
by Gwen Choate

For us diehard devotees, assembling the components of a novel about the Old West is like whipping up a good batch of biscuits. In biscuits, things like flour and salt are basic. You can add bits of cheese and sausage if you like, but they're optional.

The same is true of a western novel. There are lots of extra goodies you can toss in; but unless you're writing about the timeless West, a big dollop of historical research is imperative. A colorful tale without it is a saddle without a horse.

When I began writing for Doubleday, I didn't know that much about anything western. I had never lived on a ranch and was new to West Texas. What I did have, though, was two big advantages: a nose for history and a heart that led me to learn everything I could about the Old West. That has led to a system of research I still use today: I experience personally the things I'm going to write about whenever possible, and I read everything I can find on the subject.

Let's start with the Personal Experience category. Most people who know me are aware that I don't mind enduring some discomfort if it's necessary for good research. Like, there was the time when I was writing BUFFALO GOLD and needed to have my protagonist fall into an icy buffalo wallow at night and come out sopping wet facing a north wind. What did it feel like to be that cold? I wondered. How did one's body react?

There was only one way to find out. I didn't have a buffalo wallow handy, but I had a water hose in the backyard and the night was bitterly cold and windy. I dressed in a light cotton wrap and went outside, where I soaked myself, even my hair, with the hose and stood in the wind as long as I could stand it. Then, racing inside, I shiveringly scribbled a few notes, after which I went into Phase Two.

I wanted to know how the heart reacts when you're wet and cold. I learned the answer to this by standing indoors with my fingers pressed to the throbbing areas of my throat, then stepping outside to see whether my pulse speeded up or slowed down when the wind hit.

I knew my pulse would surely slow down to nothing if I were actually freezing to death; but I was surprised to discover that initially the heart kicks in full force‹POUND-POUND-POUND!-in an effort to compensate for the loss of heat. Each time, as I stepped back indoors, the beats would slow down again. Needless to say, the buffalo wallow scene was some of the easiest writing I ever did.

Later, when I was writing PHANTOM HILL, I hit another situation where I wasn't sure what would happen. In my reading research, I'd learned that sometimes when people were without water in a desolate place, they would relieve their suffering by slicing open cactus pads, which they chewed and placed on their lips for moisture.

That should be a breeze, I thought. I don't even have to go to anywhere. My neighbor across the street had a patch of cacti in her yard. I quit drinking water until I got pretty uncomfortable; then, armed with gloves to protect me against cactus spines and a paring knife, I approached my neighbor and asked permission to eat some of her cactus.

She was a sweet lady and didn't say anything like, "You're crazy," but she did have a look in her eyes that said, "I've got to see this."

Together we approached the cactus and after I had filleted a choice serving, anticipating relief from thirst, I got a big surprise. Trust me, cactus may have its uses, but food is not one of them. It's miserably sour and sort of slimy. I wrote the thirst scene with sympathy oozing from my pores.

I've done other hands-on research that was equally useful and not nearly so unpleasant. One that I enjoyed most was watching an old Taylor County pioneer shoe a horse. Another was attending the annual Old Settlers Reunion at Buffalo Gap, near Abilene, Texas. The oldtimers there loved to talk about the past and related some things that sounded a bit like "stretchers," but maybe not. One old cowboy told me cattle will turn their backs on a blizzard and keep moving away till they come to a fence, where they'll stand till they either freeze to death or the weather lets up. Another time, a lady gave me instructions on how to make good lye soap, and another talked about how to cure a deerskin so it's nice and soft.

The reading I've done in my research isn't nearly as colorful as the personal experience stuff, and sometimes it can involve hours of digging through dusty volumes before you find what you're looking for. I remember spending two days in the library at the University of Oklahoma trying to learn what kind of uniforms cavalrymen wore during a certain period of history--just prior to or just after the Civil War; I've forgotten which. There were many pictures of men in uniforms, but none for the cavalry in that period. Imagine my chagrin when I finally learned about dragoons, a unit of cavalry that was originally mounted infantry. What I needed to be looking for was a dragoon's uniform.

The bottom line is, you have to care about what you're doing, and you have to keep at it in order to do good research. It's a way of keeping something wonderful and fascinating alive, and we need to do that for the generations to come.

It does take effort, but I've never regretted a minute I've spent resurrecting history. Not even the cavalry uniform incident. After all, how many people do you know who can tell you what a dragoon wore?

* * * * *

Gwen Choate is the author of two western novels published by Doubleday and two young adult novels published by New American Library. She is the author of a number of articles, two of which are scheduled for publication in Personal Journaling and ByLine magazines. She presently has a romance novel under review with Harlequin Publishing Co.and has just won First Place in the Romance Category of the Texas Writers' League in Austin, Texas.

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THE DOG DAZE OF SUMMER
by Robert Nailor

Stories are made of these:
One little fact, changed!

Well, here it is, hot, humid, sticky and just downright unbearable in most of the northern hemisphere. The afternoons ease by ever so slowly and if you're lucky enough to be sitting on a shady porch or under a spreading tree, they're almost enjoyable with the light breeze to comfort you. A bit of lemonade or tea with 'chip ice' and you know you're in heaven. Summer is smoldering to an end and it's time to relax before the big harvest, not to mention the canning and preserving.

Each year it's the same, history repeats itself over and over. Or does it?

Think of a historical moment, and it doesn't need to be a major turning point for mankind. Actually, think of any situation where the outcome could have been different.

Let me show you an example: Mrs. Hill, a staunch reformist and leader of the community urban replacement, crosses the street and meets her demise. The town continues on its way and becomes a quaint village of artsy-craftsy things. That is history as we know it.

Now, instead, Mrs. Hill is spared, the car swerves and pretty well demolishes the corner drugstore. Mrs. Hill, rather than pushing to get the store repaired, has the place condemned and it is finally knocked down. The whole downtown area gets on a renovation kick and the community is now a hip and happening place with all the latest and greatest fad stores.

Just add the twists necessary to complete your story. It's called "Alternate History."

Need more ideas? The South won the Civil War - a well played - perhaps overplayed - theme. Eric the Red continued his discovery of the new world and had thriving Nordic villages in place when Columbus finally visited the Americas. General Custar won the battle of Little Big Horn. Diamonds rather than gold had been found to create "The Great Diamond Rush" to California. What if President Kennedy hadn't been shot? What if the Great Wall of China had failed to hold back the Mongols? What if Benjamin Franklin had electrocuted himself with his kite? The A-bomb was dropped at Hiroshima and there was a survivor! What if humans were dino-based? What if the Pharoah still ruled?

When it's a slow, hot day, chew on a blade of grass and relax in the shade of a mighty oak. Think. Wonder. Question "what if?" and let your mind take a roller-coaster ride to the absurd. Perhaps it won't be so strange after all.

If history isn't your "bag" then perhaps you could find the necessary enlightenment to brace your story properly at the local library - another cool place when the heat is bearing down.

Let the creative juices flow, gel and congeal; then in the cool of the night, put it to paper.

It may be a dogday afternoon, but your mind won't overheat if your lay about and think!

* * * * *

Robert Nailor is the Production Manager and Poetry Editor for The Emporium Gazette. The first chapter of his Celtic fantasy, Three Steps from Reality, is available on-line. Visit his webpages for more of his writings and graphics.

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IS YOUR WRITING ILL?

Would you like a second opinion about POV, dialogue, selling non-fiction, or submitting multiple submissions?

For a mere $5 diagnosis fee...
you can ask the book doctor, Robyn Conley-Weaver,
anything you choose!

You can even pay by credit card at our secure server. Go to: http://www.23house.com to leave your questions.

No ache or pain is too big or too small for this veteran freelance editor and author of numerous books and magazine articles. If you have more than one question, please check out her site: http://www.coolwell.org/robyn/index.html

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TAX - FINANCIAL WOES?

Have your income taxes given your checkbook the financial equivalent of writer's block? E-mail your tax questions to James G. Rogers, C.P.A., a 26-year veteran of the tax code and an author himself. Mr. Rogers knows the problems authors and others face dealing with this annual chore. For a $5.00 fee, all of which goes to support the Gazette, you can have your answers e-mailed back to you promptly so you can get back to writing. You can even pay by credit card at our secure server. Go to: http://www.23house.com to leave your question.

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I get lost in libraries and museums. I go in to research one item or see one exhibit and get caught in stack upon stack or display after display of "Wow, I didn't know that's." For instance, one sunny afternoon, I strolled into the library to look up a small detail about political conventions and got lost in The Federalist Papers. A trip to the local history museum to see a traveling exhibit turned into four hours with "The Soddies" exhibit, a display put up when the museum opened twenty-seven years ago. So what am I saying here? Essentially, the message is - I love research.

Good thing! It's my bread and butter-literally. You see, I write for a living, which means I write nonfiction. And research is vital to what I do. It is also essential to what you do as a writer of historical novels. The good news is, you can turn your research into cash, just as I do.

Why spend all that time in libraries and museums on the speculation your novel will sell? Do your research. Write your novel. But, while your waiting for someone to say "yes" to your fiction, turn your research into feature articles for magazines. I guarantee you'll have a check in your hand faster writing the feature articles. All it takes to turn historical research into feature articles is a little publication market research and an eye for the "Wow Factor."

The "Wow Factor?" Yep, the "Wow Factor" is your article angle. It is THE piece of information on a topic that grabs your readers' attention and makes 'em say "Wow, I didn't know that." In short, the "Wow Factor" is the focus of your article.

How so? Let's say you are doing research for a historical romance set just after the Civil War. Your main characters will be married toward the end of the book. You head for the library to research wedding gowns of the period. As you look at those bell-shaped dresses of the period, you realize they look similar to the gowns brides wear today. So, where's the "Wow Factor?"

Your headline might read "Modern Brides Wear Scarlett O'Hara Hand-Me-Downs." The article would focus on the fact that many classic wedding gown styles are based on the fashions of the last part of the nineteenth century. That large bow on the back of a bridal gown is an imitation of the bustle from the 1880s. The puffed sleeves, long trains, and sweetheart necklines all were stylish every-day wear in the late 19th century. Today's classic wedding gown is really a pearl and lace trimmed costume history lesson.

Where do you sell a piece like this? Every spring your local paper does a Bridal special advertising supplement. A short 500- to 750-word history of the bridal fashions would make a terrific filler. Or, interview a few bridal shop owners to get an idea of the most popular style gown for your area and concentrate your piece on that style. Quote the shop owners (particularly if they are buying advertising in the bridal supplement) in your article. (This is called market tie-in.) This bridal-gown-as-history article would also be good for regional and national women's magazines. I noticed a magazine at the grocery store the other day-Dallas/Fort Worth Bride. My guess is there is also a Houston Bride, Austin Bride, San Antonio Bride, well you get the picture. Don't forget the children's market. This is a natural for spring issues of pre-teen magazines. It would also make a good history article for general interest children's magazines.

What would you get for these articles? From your local paper, the compensation would probably not be much, around $10 to $50. From the regional magazine, you might get between $150 to $300. A national magazine could pay $300-$600. The children's magazines, if they are national, would probably pay between $300-$500. Ok, let's say you scored one-each with your article. So, for your historical novel research you would get: (lowest figure) local paper-$10, regional magazine-$150, national magazine-$300, a young adult national magazine-$300, and a national children's magazine-$300. That comes to $1060 for your efforts. The high figure would be $1,950. That's pretty good pay for a few hours work. Remember, you aren't writing a completely new article for each of these publications. All you do is rearrange the focus to target the reading audience and the specific needs of target publication. For the children's magazine, you would need to simplify the language and shorten the sentences.

Are you doing research on a western novel? Maybe your main character runs into Billy the Kid. Your research on Billy turns up something interesting about the gun he used. Your headline and "Wow Factor" might read "Billy the Kid Couldn't Handle a .45." (He couldn't because .45s weren't readily available until sometime after he shot his way into the Fort Sumner Cemetery.)

A short feature on Billy and his gun would make a good filler for July 15th (anniversary of his death). Short 500-word fillers can be sold over and over to magazines and newspapers all across the country. The pay might be as little at $25 or as much as $500. Sell it to eight to ten publications and you'll have a nice paycheck for your trouble.

If you like crawling through museums to do period research, you can double your money. For instance, the exhibit on sod houses I mentioned earlier had enough good material for several articles. The list of articles might include a focus on the history, architecture, prairie home design, environmental impact, how-to build for modern use, etc. All these articles could be written for adult publications, then refocused, using simpler language and shorter sentences, for the children's market. But wait-there's more. That museum I visited is one of my city's tourist attractions and it sits in the middle of a museum district. Information about the museum, its key attractions and its neighboring museums, would make a great destination article for a travel magazine or the "travel" section of a magazine or newspaper. Again, this is a piece that could be sold all across the country.

Why write your novel on spec? Turn your research into cash. Trust me, you'll make more on your articles than you will from your fiction (unless, of course, you're the next Stephen King). Happy writing!$!$!$

For more information on how to turn your writing into cash, let me recommend Clausen's book TOO LAZY TO WORK, TOO NERVOUX TO STEAL. It tells you all you need to know about making money as a writer. The book is available from Writer's Digest.

* * * * *

Lucile Davis is the author of 16 books, 2 of them just released in 2000. A feature writer, she is currently a regular contributor to the Fort Worth Texas magazine. She teaches Writing for Children through Texas Christian University's Extended Education and the Institute of Children's Literature.

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FROM ANOTHER ANGLE
by Susan Long Turner

Historical fiction writers forget that the purpose of writing historical fiction is not to teach history, but to tell a story.
Without a story, historical fiction is just a bun without a wiener. -- Elmer Kelton

A story that could only take place in a particular historical period can rescue history from the dustbin. An historical novel comes alive when the writer establishes the tone with powerful words, intelligent dialogue in tune with a time from the past, characterization, good pacing, and dramatic overtones.

Jeanne Williams in NO ROOF BUT HEAVEN starts the flow of a good story interwoven with history in the opening two sentences: "Buckboard was a fitting name for this vehicle! Susanna gripped the splintery board seat, nailed securely, she hoped, to either side of the wagon, which truly did buck, and cast a desperate glance at her trunk. Would Grandmother Alden's teapot and two remaining eggshell-thin cups survive this last part of the journey from Ohio?"

We don't know where the heroine is headed, but the author sets the tone for an exciting adventure to take place in times past. Jeanne Williams authored 58 published books to date, several included in Reader's Digest books, and 45 available on the Internet from Author's Guild Backinprint by iUniverse. She is a four-time recipient of the Golden Spur Award and winner of the Levi-Strauss Saddleman Award for lifetime achievement in western literature. Williams is known for her accuracy and sense of time and place in her historical novels.

La Vyrle Spencer uses the "vehicle" device with a slightly different feeling in opening her historical novel, VOWS: "Tom Jeffcoat shifted his rump on the hard wagon seat, blinked twice, and peered northward. From beneath the brim of a dusty brown Stetson, he squinted until the blurred outline of a town came into focus. A thrill shot through his belly- - Sheridan, Wyoming, at last!"

Jeanne Williams and La Vrle Spencer obviously agree with Elmer Kelton that the purpose of historical fiction is not to teach history, but to tell a story. In telling that story, setting the tone is all-important. Members of the Western Writers of America voted Kelton THE BEST WESTERN WRITER OF ALL TIME proving he knows the ins and outs of historical writing.

One fact stands out. You'd never catch Elmer Kelton eating a bun without a wiener!

* * * * *

Susan Long Turner is co-author with Russ Turner of "Wings Born Out of Dust" which is available now from 23 House Publishing and is also available in trade paperbacks and hardback at other major online bookstores.

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GETTING IT RIGHT: THE IMPORTANCE OF
HISTORICAL ACCURACY
by Terrie Murray

Last year I was assigned a writing exercise for Denise Vitola's Idea Factory. I'm working on a historical fiction novel ("Lindy's Gold" -- watch for it!) set during California's gold rush, and Denise had asked me to write a scene involving two of my novel's characters. Here's what I came up with:

************************************

"Something's wrong with my insides," Norval complained. "I'm all in knots."

I sighed. My husband was difficult even on a good day, but when he was ill he became like a baby with colic, and equally hard to calm. "You ought not have eaten those old corn cakes this morning. I told you I'd make fresh ones as soon as we stopped for the day."

Norval grunted. "I reckon we'll stop now, Lindy. We're but a mile or two from the next town. Maybe the doc there will have something to fix me."

"I'll not buy any more of that patent medicine. We don't have the money, and it just makes you feel worse, especially when the hangover wears off. All you need is a cup of strong peppermint tea and a good meal. But we're low on supplies, a trip to town would be a good idea."

I left Norval to set up camp for the night, knowing that it was more likely he would just crawl in the wagon and sleep until I returned from town. Nevertheless, I welcomed the opportunity to be alone on the road, away from the relentless clop-clopping of the oxen that pulled our wagon, away from the squeak of the wheels, and away from Norval. Even a mile or two out of town a woman alone can be in danger, I was alert to the sights and sounds around me, but the only thing I heard was the song of a meadowlark, and the only thing I saw was a jackrabbit bounding across the road in front of me.

"Too bad," I said to the meadowlark. "If Norval had been with me, we might have had rabbit stew for dinner."

At the mercantile I purchased some sugar and coffee, and also splurged on a few eggs and some apples to stew for our breakfast tomorrow. A change in diet might improve Norval's disposition, and would certainly work wonders on mine. Norval and I had plenty of venison jerky and shelled corn which could be ground for griddle cakes, but I grew tired of the same food day in and day out, and I hoarded pennies or traded some dried herbs for fresh ingredients when they were available. When he heard I had herbs, the storekeeper was willing to trade my purchases for some dried chamomile flowers, saying his wife was fond of chamomile tea and had not had any since they had moved here from Ohio two years ago.

The storekeeper packed my goods into my basket, and I set off back down the wheel- rutted road towards Norval and our camp. I hadn't gone but a half mile or so when I heard the sound of someone following me. I quickened my steps, and the footsteps behind me matched my speed. I was scared, now, and started running. I heard a voice call out after me.

"Wait, ma'am. Please, I mean you no harm. I was hoping to barter with you for some of them herbs you got."

I stopped and turned. As I had been running my skirt had caused a whirlwind of dust to rise in waves around me, making it difficult to see, but as the dust settled I could make out the features of a man leading a mule on a rope. Both looked old, and although I could not see him clearly, the man did not appear to be armed. He walking towards me, revealing a slight limp.

"The storekeeper back in town says you got some healing herbs, ma'am. My mule here, he's got sumthun wrong in his head. He cain't breathe no good."

As the man approached closer he took off his hat and stopped. "I'm sorry to have skeered you like that, ma'am. Name's Jim Oswald, but most folks just call me Old Jim. Me and Vaporlock — that's my mule — we're trying to get to California to get ourselves some of that there gold. I've done some mining afore, up in Colorado territory, but the good claims was all gone by the time I got there so I thought I'd try my luck in California. I ran out of grub a ways back, so for the last couple a weeks I've been working for the storekeeper, delivering stuff and sweeping out, until I got me enough for a grubstake. Vaporlock took poorly a day or two ago and I'm right worried. Without him, I'll never make it to California. Besides, he's purty near all the family I got."

I put down my basket and shook the dust out of my skirt, then held out my hand. "I'm pleased to meet you, Mr. Oswald, and I'm sorry I ran, but I'm sure you understand, being a woman and alone out here. My name is Malinda Winniford. Yes, I do have a small supply of herbs, although most of them are back at our camp. My knowledge of healing is not so great as some, but what I do know I am happy to share. Do you mind if I take a look at Vaporlock? However did he come to have a name like that?"

I approached the mule, who appeared uncomfortable, but not dangerous. As I looked Vaporlock over, Oswald said, "Well, ma'am, it ain't necessarily a story for gentle company. This here mule likes to eat beans, and they don't necessarily always agree with his insides. Makes him a bit gassy. One of my old partners called him Vaporlock, and I guess it just stuck."

I laughed. "Well, Mr. Osgood, Vaporlock doesn't seem too bad off. He's just picked up some congestion, probably from all the dust around here. If you don't mind walking back with me to camp, I've got some eucalyptus there and I'll teach you how to make Vaporlock a steam tent that should have him right as rain in a day or two. Just make sure to keep him away from the beans while we're there!"

"I'd be obliged, for sure and certain. Will them herbs yooclip-whatever, cost much?"

It was obvious the old man had little to spare. Eucalyptus was one of the easiest herbs to find and dry, I had plenty and I could well afford to give some away. "I'll make a bargain with you. It's been a long day, and I'm a bit tired. Perhaps you could carry my basket back to camp and tell me all you can about mining. My husband and I are headed to California as well, hoping to find some gold of our own. We'll call it a trade — you tell me about mining, and I'll tell you about healing Vaporlock. Deal?"

"Ma'am, it would be a pleasure. Deal"

We shook hands to seal the bargain. Oswald picked up my basket and swung into step beside me, with Vaporlock bringing up the rear, snorting quietly. I was sure the eucalyptus would have him breathing better by morning.

"So, Mr. Oswald, how will we know how to choose where to strike our claim?"

Thus began my first lesson in the craft of mining.

*********************************

I spent quite a bit of time getting the dialogue right, because I wanted the differences between Lindy's voice and Jim's voice to be distinct, but not distracting. I even did some research on the types of foods they might have eaten, and the language used during that period, utilizing "The Writer's Guide to Everyday Life in the 1800s," written by Marc McCutcheon and published by Writer's Digest Books. But did you catch the historical inaccuracy I included? It's buried, but now that I've done quite a bit more study of ethno-botany (the relationship of plants to society), it's quite glaring to me. You see, my story is set in 1849. Eucalyptus trees are native to Australia and they weren't planted in the United States until 1856. There's no way Lindy could have been carrying eucalyptus with her on her way to the California gold fields.

Historical accuracy is important, and underscores the need for careful research. There is an implicit level of trust between the reader and the writer. If the writer throws in an anachronism, that trust is broken and you've lost the attention of your readers. Getting it right can take months - maybe even years - of research, depending on what era your story is set in, but doing the research is critical to accurately depicting that era. Even if you're setting your story in a little-known time and place in history, like, say, 13th century Italy, in today's information-rich market you can be certain that some of your readers will be certain to be experts, and you can be equally certain that they'll point out your errors both publically and privately. Get it wrong and you'll lose all credibility as a historical novelist. Do the work. Get acquainted with your librarian, visit museums (as suggested by Lucile Davis's article elsewhere in this issue), run queries over the Internet, and read.

For my gold rush era novel I have checked out from the library and read (to date) eight books cover-to-cover, including two novels set in the same era written by an acknowledged expert of that era. That's a good way to recognize details which will bring color and authenticity to your story. I've acquainted myself with the landscape between my lead character's home in Texas and the California gold fields, so I can accurately incorporate plants, birds and animals she might encounter along the way. Since my character is an herbalist, I've also had to research the traditional medicinal qualities of those plants. Right now I'm researching the Pima Indians of Arizona, a group which will play a major role in the story, and my current dilemma is finding a source which will tell me how the Pimas named each other, so that I can give my characters historically accurate names. I won't write those scenes until I can get it right. Historical accuracy is what distinguishes good historical fiction, and if you're not willing to put in the time to fully research your story, you'll better serve your readers if you choose another genre of writing. However, if you're willing to hit the books, you'll find (as I have) that the puzzle of finding just the right details to make your story come alive are what makes historical fiction such a joy to write.

See you at the library!

* * * * *

Terrie Murray is the travel writing editor and editorial assistant for the Emporium Gazette, and is a freelance nature and travel writer from Portland, Oregon. She can be reached through her website, Aviella's Inkwell: Writings From the Pacific Northwest (http://www.aviellasinkwell.com).

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Texas Haunted Forts Elaine Coleman The forts of Texas stand like silent sentinels. Their legends and stories reminders of a past steeped in history. Tales of Indians wrapped in white buffalo robes and a ghostly lady delivering white roses to an officer's desk are woven with historical facts, placing the reader in the midst of the action. I-55622-841-4 $18.95/US /$29.95/Can 300 pages 5 1/2 x 8 1/2 June 2001

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Potatoes
by Syd Dunne

"You should hear me father screaming bloody curses at that captain," Katie whispered to her friend. She pushed some stray dark red hairs behind her ear in a nonchalant manner. "Exactly what the man deserves."

"What be the problem, Katie girl?" the newcomer said.

The two young ladies stood on the hill overlooking the inlet of water. The hustle and bustle of the small community was but a din to their ears.

"See yonder ship, Erin?" Katie pointed at the frigate harbored in the bay.

* * * * *

The following years were good for Ireland and it truly became the Emerald Isle as the monies from England and the European mainland funneled to the potato landlords.  Immigration rules to the mystic island were changed and Ireland became a sovereignty to reckon with.

Strangely, the potatoes from the new world weren't available the following year, 1846, due to a horrendous blight in the Central Americas.  Even the United States was caught in the epidemic and some of the newly arrived immigrants quickly escaped back to their homelands, forsaking the supposed golden opportunities afforded to them in the new world.

* * * * *

Syd Dunne is a published columnist in the Washington, DC vicinity and enjoys writing fantasy, especially Celtic Fantasy. You can visit her webpage at Syd's Pages

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Contact Staff

Ron Jones-- Managing Editor

Robert Nailor--Poetry Editor and Production Manager

Elyse Salpeter--Fiction Editor

Mitchel Whitington--Non-Fiction Editor

James Rogers--Business Editor

Terrie Murray--Travel Writing Editor

Sue Long Turner--The Writing Answer Lady

&

Denise Vitola--Editor-in-Chief

© Copyright 2001 by the Emporium Gazette

No portion of any article or other writing in this electronic publication may be copied, used or otherwise taken by any person or organization for any purpose or reason whatsoever without the express written permission of the Emporium Gazette.

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