Making History Relevant to Story without Slowing the Pace

By Tori Eldridge

(Includes an Excerpt from Hawai‘i Rage)

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I write and enjoy reading page-turning fiction. So I cannot afford to slow down the pace, no matter how much character development, cultural information, or history I include. The key for me is to choose the right moment to share relevant facts that will stick with the readers. The tricky part is how.

I’m one of those authors who begins every new project with a place and sometimes a topic or community I want to explore. I dive into research, regardless of how familiar the location or topic is to me. It is during this process that I discover my characters, and a hint of a story appears. Although I’ve been writing contemporary fiction, my last four novels have also entwined historical timelines and facts. But since I don’t want to give a history lesson, I pick and choose what I share.

I rely on two techniques to weave in pertinent information that won’t put my readers to sleep. 

The first is to create a family genealogy that is interwoven with the historical background I want to share.

I did this in The Ninja’s Oath by tying the ancestry of Lily Wong’s “uncle” Lee Chang—whose grand-niece she would help rescue—to the history of Shanghai. This connection to place became so significant that it inspired the thriller plot of the book.

I created an even more intricate genealogy for Ranger Makalani Pahukula’s family in Kaua‘i Storm, beginning with Makalani’s great-grandmother Punahele and her ten children. The story’s drama and mystery emerged from the cultural differences of intermarrying and depleting fractions of Native Hawaiian blood each generation had.

In Hawai‘i Rage—a contemporary Hawaiian western and family drama mystery—the ancestry of Hiapo Ranch began with the son of an early Mexican vaqueros King Kamehameha III bought over from Alta California to teach his people how to ride. I was able to include a lot of this fascinating Hawaiian cowboy history because it was woven into Hiapo ancestry and pertained to my plot. In this way, the history moved the story forward and added character depth.

My second technique is to drop relevant information at a moment in my story when it will stick in the reader’s mind.

With a book as richly entwined with history and culture as Hawai‘i Rage, it was especially important not to dump exposition or overload my readers with facts. My primary goal, after all, is to entertain. That said, my protagonist just took a new position as an interpretive ranger at Pu‘u Koholā Heiau National Historic site that King Kamehameha I was instructed to build to help him unite the Hawaiian Kingdom. Readers are going to be interested in learning a bit about that history. Not all. And only the parts that are relevant to my story, especially if the information I share helps my protagonist solve the mystery in my book.

The following excerpt exemplifies what I mean. In this scene, Makalani is plagued by a conversation she overheard while trying to study the historical materials her supervisory ranger has assigned her to read. Makalani is surprised to find clues to her mystery in the heiau’s treacherous past.

Why else I do what I do?

Makalani had stared at the ceiling, unable to sleep.

What did you mean, Malu? What did you mean?

His words refused to wash away even as the evening rainstorm pounded her roof. And when she rolled out of bed in the morning, she found them stuck in her sleep-deprived mind like sticks in the mud.

Why did you say that? What did you mean?

The conundrum followed her to work. In Pidgin English, locals frequently used the present tense even when they referred to something in past. When Malu had said, “Why else I do what I do?” was he reminding Louie of something he was doing now or something he had done before?

Like kill Larry Hiapo so Kupunakāne could put Louie in charge.

The treachery was echoed in the story she was reading, about how Kamehameha’s trusted military adviser and uncle murdered Kamehameha’s rival cousin in Kawaihae Bay—the same bay where Hiapo’s stepfather was killed swimming a steer to a boat. Makalani dropped her head into her palms as past and present muddled into a convoluted mess.

“Need a break from reading?” Ranger Akaka asked from the doorway.

“Yes!”

He laughed. “Come on. We can talk while we walk.”

She glanced down the hall for her supervisor. “Won’t Ranger Machado mind?”

Ranger Akaka smiled. “He’s on Maui today.”

The warmth of the midday sun eased the tension from Makalani’s shoulders as they walked along the visitors’ path. The stone heiau stood on the mauka side of the flat, barren land, muddy now because of the previous night’s rain. The lava platform was huge, over two hundred feet wide and twenty feet high. She had never seen one this large or with multiple tiers.

“How did they actually use it?”

“Good question.” Ranger Akaka said. “The kahuna or ali‘i—King Kamehameha I was both—would perform religious ceremonies or hold political meetings on this space. The attendees would sit on the lower two levels according to their standing in the community. Structures were sometimes built on the top level to offer shade for chiefs and advisers. Pu‘ukoholā’s size reflects its importance.”

He gestured toward the ocean. “When the visiting chiefs and their entourages would sail their outriggers into this bay, one of Kamehameha’s top warriors would throw a spear at the chief. If he caught the spear it meant he had enough mana—divine power and authority—to proceed.”

Makalani thought about the treacherous bit of history she had been reading that morning. “Was that how Kamehameha’s uncle killed his rival cousin?”

“No. Instead of throwing the spear, Keʻeaumoku opened his arms for a hug. Although the rival cousin knew Kamehameha would kill him as a sacrifice for the heiau, he had come to save his people from war.”

“Then why murder him?”

“Kamehameha wanted to talk with his cousin first. Keʻeaumoku feared the rival would deter the king from his destiny, so he and his men slaughtered all but one. But the treachery happened on both sides. Although the cousin had come willingly, he had mutilated his body to taint the sacrifice. One version of this story says the rival chief had even decided to live and planned to assassinate Kamehameha when they met.”

“So Keʻeaumoku acted without Kamehameha’s knowledge?”

“There are many versions of this story, but the one I believe makes Keʻeaumoku seem like the General Patton of the Pacific and a mafia hitman rolled into one.”

Makalani stared down at the beach, envisioning the multilayered treachery at play. In many ways, it reminded her of the Hiapo family today.

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Tori Eldridge is the author of Kaua‘i Storm, the Lily Wong ninja thrillers, and Dance Among the Flames. Born in Honolulu—of Hawaiian, Chinese, and Norwegian descent—Tori graduated from Punahou School with classmate Barack Obama before performing as an actress, singer, and dancer on Broadway, television, and film, and earning a fifth-degree black belt in To-Shin Do ninja martial arts. Her literary works have garnered Anthony, Lefty, and Macavity Award nominations and the 2021 Crimson Scribe for Best Book of the Year. Tori lives in Portland, Oregon, with her husband, near her precious mo‘opuna (grandchildren), where she narrated the audiobooks for Hawai‘i Rage and other Ranger Makalani Pahukula mysteries. For more information about Tori, her book club extras, and her reading ‘ohana, visit www.torieldridge.com.

Writing Historical Fiction

By James L Hill

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Writing historical fiction requires research. How much and how in-depth depends on the type of story you are writing. As with all forms of writing, there is no one way to do it, or a right and wrong way. It all depends on the writer.

Let’s discuss three styles of historical fiction and the amount of research involved. 

First, is the fiction based on a time period. Your main character is fictitious, and your aim is to tell a story based on a time and event. The event is an anchor that the reader can relate to. The story is about the life of your main character.

You pick the Battle of Trenton during the American Revolution, December 26, 1776. This is a pivotal battle in the Revolutionary War. A time most people will recognize by the famous picture of Washington crossing the Delaware even if they don’t recall the battle that followed. Now, you can tell a story of the life of your MC with little actual research into the facts. Depending on who he is, a private, lieutenant in Washington’s army, or a Hessian’s soldier for the British, you only need to know a little about the clothing, weather, and culture of the time.

You will need to do a deeper dive into the facts surrounding the Battle of Trenton if your story is about Washington as seen through the eyes of your MC. You have to know a lot more about the main character because his status in life will direct how much he knows about Washington and his proximity to him.

If your MC is a private, he will have limited direct contact with Washington. Your story will rely on Washington’s general speeches and commands to his troops. If he’s a lieutenant or higher-ranking officer, then he will live a different life of privilege. And he will be among Washington’s inner circle on and off the battlefield. However, you are still telling a story from the MC’s point of view, and your readers will expect more details from both their lives.

 When writing alternative history, the what-if variety, you still need to know the facts you plan to change. This kind of story can be more difficult because you have to know what effect changing an event would have in your new future. For example, your MC is among the survivors of Washington’s forces as half drowned on the Christmas night during the Delaware crossing. Instead of withdrawing, Washington presses on with the attack believing the element of surprise will offset his loss of manpower. Washington is defeated, perhaps captured, or killed, and your MC is left to deal with the failed revolutionary war. What would the British have done in such a situation? What recourses would the colonist have had? To write a compelling and believable story, you need to know the state of England and the Americans at the time. You probably need to know more about other important figures too.

Writing historical fiction is more than knowing the facts, it’s about how you use those facts to tell a story that is interesting, believable, and satisfying. If you are just stating the facts, you are writing a new story. If your aim is to entertain, then you are writing historical fiction.

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James L Hill, a.k.a. J L Hill, is a multi-genre author, currently working on a three-part historical fantasy Gemstone Series, The Emerald Lady and The Ruby Cradle are in publication with very good reviews. The third book, The Diamond Warrior, is due soon. The four-part adult urban crime series, The Killer Series, is complete. Killer With A Heart, Killer With Three Heads, Killer With Black Blood, and Killer With Ice Eyes are five-star novels. Then there’s the psychological dystopian science fiction thriller, Pegasus: A Journey To New Eden for your reading pleasure. A collection of eight short stories spanning four decades have just been published called, The Moth and Other Tantalizing Tales. He also owns and operates RockHill Publishing LLC which published twenty books by eight authors in Adult Fiction, Fantasy, Science Fiction, and Romance. https://www.jlhill-books.com and https://www.rockhillpublishing.com

Writing Fiction, or Non-fiction, Research is Key

By Patrick Kendrick

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I have been fortunate to have my books published for some sixteen years. Throughout my writing career I have learned that research is THE key to pulling in readers and adding authenticity to your work, even if it is fiction. If you’re doing non-fiction, research is even more paramount. 

With fiction, many writers believe they can write whatever comes to mind, creating strong characters, their environments, backgrounds and whatever plot they wish to follow. But if you’re writing historical fiction, it is a must that you follow, or get as close to, following what was happening at the specific time in history you are writing about. 

My newest book, Edison’s Last Breath, a historical mystery that involves several real-life characters, such as Henry Ford, Charles Lindbergh, Josephine Baker, and Ernest Heminway (once again from my first book, Papa’s Problem). My primary character, Emmet MacWain meets these people when there is a murder at Henry Ford’s winter home in Ft. Myers, Florida. I was inspired to write about Josephine Baker as it was revealed that she was not only the biggest entertainer of her time, but that she was also a spy for the French resistance. 

As with Papa’s Problem, in which Hemingway is a murder suspect, I found that I could not just write what I knew from lore. Libraries, particularly those that exist where the character lived—Hemingway in the earlier book, and Ford and Baker in the present book—are useful as they may house personal letters and documents from the real-life character. In Edison’s Last Breath, I had the opportunity to go to the Ford and Edison estates in Ft. Myers, Florida, where, to my astonishment, I found a corked test tube, with an accompanying note read, “This tube contains Thomas Edison’s Last Breath.” Hence the title of my book, Edison’s Last Breath.

Initially I thought it was some sort of hoax, but as I researched the odd item, I found out that, as he was dying, Edison, a close friend and mentor to Henry Ford, would try to save what he thought was his last breath for his friend, Ford. Charles Edison, the son of Thomas, stayed with his father while he was in his death bed. Each time he thought his father was exhaling his last breath, he would try to capture it. I did not make this up! 

I was bowled over by this fact, and my novel took a new direction that took us to many places, including Josphine Baker’s chateau in France, where I found out even more about this heroic woman who spied for the French. She was so good at entertaining people, that German officers who suspected she was a spy would go to her home with intent to find some evidence, for which they might arrest her. But Josphine was so clever and such a dynamic performer, she would charm the soldiers with wine, dinner and a personal show, and the Nazis would forget what they came for. Baker was one of the bravest spies ever.

That was the cool thing I found out. The not-so-cool thing I found out as well, was that both Ford and Lindbergh were antisemitic, Nazi supporters.  Lindbergh was gifted a plane by the furor himself and had several mistresses in Germany, while Ford had contracts with the Germans to make trucks for their Army during our country’s war with them. Lindbergh was awarded the Serve Cross of the Order of the German Eagle, while Ford was awarded the Grand Cross of the German Eagle.

Working on my previous book (for some 20 years) “American Ripper: The Enigma of America’s Serial Killer Cop,” I had to do much more, shall we say hazardous research, such as visiting the serial killer, Gerard Schaefer, in jail. Schaefer was convicted of two murders but was believed to have committed dozens more. He typically killed two girls at a time, often picking them up in his patrol car as they were hitch-hiking. 

I spent many years writing this story because of its true nature and because so many people had to be interviewed: police who worked with Schaefer and investigated his murders, the lawyers who prosecuted him as well as his public defender, surviving family members, the killer’s mother, and many police officers in numerous states, who I still hear from, when they find another body. Just last year, I was called by a police officer who was investigating cold cases. They had found a body, a teenage girl back 1972 in a mangrove-covered area where Schaefer used to take his victims. She was never identified until an officer from Palm Beach County Sheriff’s office took over the cold cases. 

The victim was found with wire tied in knots around her hands and feet. She was skeletonized but the wire knots were still intact. Many police officers know who I am from my research and my book, so he called me and asked if I has any pictures from Schaefer’s crime scenes. I had copies made years ago from the evidence files (though I chose not to use them in my book for the sake of the families who lost their children). The cold case cop sent me the pictures they took of the knotted wire, and they matched knots that Schaefer utilized on his victims. So now that had a connection between Schaefer and the victim, Karen Poole. We also found that Schaefer used to live just around the corner from the victim.

So, research—good, intense research—can add reality to your fiction novel, or the stark truth in a non-fiction book on true crime.