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Elizabeth Bell, Author

Undeniable Love. Unflinching History. Unforgettable Fiction.

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    • Lazare Family Saga, Book 1: Necessary Sins
    • Lazare Family Saga, Book 2: Lost Saints
    • Lazare Family Saga, Book 3: Native Stranger
    • Lazare Family Saga, Book 4: Sweet Medicine
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authenticity

My Debt to Colonial Williamsburg

January 2, 2023 by Elizabeth Bell Leave a Comment

Most of my Lazare Family Saga series takes place in the 19th century, so you might think visits to an 18th-century living history museum wouldn’t be terribly useful to my research. In fact, Colonial Williamsburg in Virginia was one of the richest sources for my fiction set mostly in 19th-century South Carolina. Here’s how!

After I moved to Virginia in 2004, I visited Colonial Williamsburg as often as I could and absorbed its historical delights like a sponge. This is how I read nonfiction as well; I rarely know which details will be useful, even crucial, in my historical fiction, so I devour them all. Finally, I had to cut myself off from travelling, finish writing my Lazare Family Saga, and publish it. Then COVID hit. It’s been six years since I last visited Colonial Williamsburg. 

I remedied that in December 2022. Before, I’d always stayed “on the cheap.” For the first time, I was able to rent one of the Historic Area’s Colonial Houses: a restored 18th-century kitchen with a working fireplace and a canopy bed. I’d never slept in one before, and I loved its coziness.

My cozy canopy bed and fireplace inside the Market Square Kitchen, a restored 18th-century building and one of the Colonial Houses in Williamsburg. Joseph and Tessa could be hiding behind the bed curtains!

My visit reminded me of all the reasons I love Colonial Williamsburg. To me, its two greatest aspects are ones I hope I’ve recreated in my historical fiction: Colonial Williamsburg awes me with both its scale and its depth. The Historic Area isn’t just a handful of restored or reconstructed 18th-century buildings. It’s the largest living history museum in the world: 301 acres and 604 buildings—truly an epic recreation of the past. The people who interpret these spaces often spend decades researching their characters and unearthing forgotten details from primary sources. In the Historic Trades, master craftsmen must apprentice for seven years just as they did in the 18th century. 

Lafayette outside the Governor’s Palace
Martha and George Washington

These interpreters’ dedication inspires me as a writer. Colonial Williamsburg was the foil that allowed me to see and correct the gaps in my 19th-century knowledge. Because CW interpreters know daily 18th-century life so thoroughly, they challenged me to think about my characters’ primary century in new ways. 

My Lazare Family Saga does begin in the 18th century, albeit in the last decade and in the Caribbean, not in Virginia. Nevertheless, when Marguerite dons a detached pocket (Necessary Sins, Chapter 4), this comes straight from my visit to the milliner’s shop in Colonial Williamsburg. The wigmaker helped me understand that curious fashion. Cooking over an open fire didn’t change much from the 1700s to the 1800s. Nor did blacksmithing.

Milliner’s shop
Governor’s Palace Kitchen

Happily, many of the objects displayed in the Art Museums of Colonial Williamsburg are from the 19th century. I studied several examples of men’s neckwear to describe Joseph’s (Necessary Sins, Chapter 21). Tessa’s brown cloak with white lining in Chapter 29 was based on a cloak I saw in the CW Museums as well.

I researched The Lazare Family Saga for so many years and visited Colonial Williamsburg so many times, I can’t always parse chicken from egg: Did I read about Noah’s Ark toys (Lost Saints, Chapter 11) in a book before I saw a complete set in the CW Museums? I think I researched 19th-century couches online and chose the perfect shape for Tessa’s méridienne before I spotted one on display in the Museums—but having that real-life example helped tremendously and directly inspired the tasselled pillow I mention in Lost Saints, Chapter 8.

A late 1800s Noah’s Ark toy set
A circa 1820 couch shaped like Tessa’s green mérdienne
https://emuseum.history.org/objects/68744/couch#

On my tour of the Randolph property, I learned about an enslaved maid named Eve, inspiring me to give René’s mother the French version, Ève, for her slave name (Necessary Sins, Chapter 1). The real-life Eve escaped slavery as well. Tragically, she was recaptured and sold to the West Indies as punishment.

On a visit to CW’s Great Hopes Plantation (sadly this site seems to be closed now), I saw a modern blacksmith’s recreation of a slave collar. I combined this atrocious design with a slave collar I’d seen in a Louisiana museum in order to describe such a collar in Chapter 9 of Necessary Sins. In Chapter 40 of Native Stranger, Cromwell mocks Easter for eating too many ginger cakes. Every time I visit CW, I do exactly this. 

In Chapter 6 of Necessary Sins, the racist Marguerite commands her grandson Joseph: “Don’t you ever trust a negro with your shaving razor!” This remark was inspired by a walking tour of Colonial Williamsburg that discussed the enslaved population. Our guide gave personal grooming, including shaving razors, as an example of how intimately the lives of enslavers and enslaved intertwined.

George Wythe’s office. Note the portmanteau and microscope case atop the desk at right
One of Colonial Williamsburg’s live oaks and tourists in a carriage

The most iconic tree of the antebellum American South is the live oak (Quercus virginiana). These don’t grow in Northern Virginia where I live; but they do grow in Williamsburg! The Colonial Garden may be the first place I saw pomegranate blossoms. I know it’s where I learned about cold frames (Necessary Sins, Chapter 17). What might a man of science have in his office? How do flintlock firearms work? How does one climb into a carriage? CW answered these questions among countless others.

Colonial Williamsburg is truly hands-on history, and these are some of the ways it’s had a profound impact on my historical fiction. I can hardly wait to return.

Filed Under: African-American History, Authenticity, Historical Fiction, Interpretation, Racism, Research, Writer's Life Tagged With: authenticity, inspiration, Research

Anatomy of a Book Cover, Part 1

March 7, 2022 by Elizabeth Bell

After five months of research and revisions, the ebooks of The Lazare Family Saga have brand-new covers at last! If you’re curious why and how they look the way they do, make yourself comfortable. The creation of these four covers for my fictional family saga is a saga itself, so I’ve split it into two parts. You might also want to check out this prequel post on why my original covers needed an update for the digital world.

In short, I think of these as my “billboard covers.” Their purpose is to shout “I’m historical fiction set in the 19th century United States! If you like that, check me out!” as potential readers scroll through Facebook, Amazon, and anywhere else they appear online.

In my cover breakdown, I’ll be speaking from the point-of-view of an indie historical novelist whose books are intended for an adult audience. Also keep in mind that whatever I chose had to be sustainable over a four-book series. The covers have to follow the same “branding”; at a glance, the books must visually belong together.

There are three main routes in book cover design:

  1. Hire an illustrator to paint or otherwise create a custom illustration for your book cover. This method was popular in the past and includes the original covers of the books that inspired me to write historical sagas, books such as Colleen McCullough’s The Thorn Birds (1977) and Brock and Bodie Thoene’s Zion Covenant series (1989-1991). Back when I thought I’d be traditionally published, this is what I expected my books to look like.

    But times change. Not only is custom illustration prohibitively expensive for an indie author like me (you’re paying not only the illustrator but also a designer to create a book cover using that illustration), such book covers have become rare even in traditional publication, at least for serious historical fiction aimed at adults. Custom illustrations can look cartoonish and give the impression that the book is Young Adult or another genre like fantasy in which illustration remains popular.
Where it all began: My mother’s copy of Colleen McCullough’s The Thorn Birds with its original illustrated cover. Thanks, Mom!

2. Hire a photographer who hires models who resemble your characters. The photographer would find costumes appropriate to my book’s time period and do a custom photoshoot, probably incorporating period-appropriate props like jewelry and furniture. They might even take the photos at a historic 19th-century property. All of these elements cost heaps of money, so again, not in my budget for a four-book series.

3. What most indie authors do is choose a talented designer to combine and manipulate existing stock images available on sites like Despositphotos and Shutterstock. Because the first two cover routes weren’t financially feasible, this had to be my choice both for my original covers (now limited to the paperback and hardcover formats, created by Bookfly Design) and for my new covers (ebooks and forthcoming audiobooks, created by Damonza).

Using stock images is easier in some genres than others and easier with some characters than others. Since my fiction is character-driven, I wanted to put people on all the covers this time around. But if some of your characters aren’t White, you have fewer options because there are fewer non-White models on stock sites. In addition, decent images of people wearing historical clothing are few and far between.

Sure, there are women in “vintage dresses,” but these are usually painfully bad approximations of historical clothing. Since the contents of my books are meticulously researched and accurate, I didn’t want cover models in clothing that is glaringly wrong for my setting—or any historical setting, only a fantasy version of past fashions. Furthermore, these models in “historical” clothing almost always have modern hairstyles and/or makeup, which ruins the effect.

An even worse example of cringe-worthy stock photos are the results for “Native American.” Almost all of these are so atrocious, they are offensive to anyone who knows anything about Native culture. Think naked White women lounging in fields wearing eagle feather headdresses. Shudder.

Do you see what I had to wade through? Imagine HUNDREDS of pages of these.

I should note that an indie author doesn’t have to find stock images before approaching a designer. But designers appreciate it because it saves them time, as long as you give them a few options and don’t insist that Images A and B must appear on the cover even if they don’t work together. The lighting may be incompatible, for example. Moreover, I know 19th-century clothing and American history—not to mention my characters—better than my designer, so I know better which stock images are rubbish and which are close enough.

The problem of finding the right images is exacerbated by the fact that most of the best-for-historical-fiction photographers on stock sites, the ones who have images of models in decent historical clothing, are Russian. English isn’t their first language, so these Russian photographers label their images with generic or misspelled keywords that make the photos hard to find.

For example, the stock image I chose for Tessa on my Necessary Sins ebook cover is titled “A young girl in a hat stands against the background of the forest.” (She’s wearing an 1830s bonnet and gown.) The image we used for Tessa on the paperback and hardcover is “Beautiful woman with long hair in a long white dress. He [sic] sits at the vintage table and looks away.” She is wearing a Regency gown from the early 1800s. It’s truly a mislabelled needle in a haystack situation.

“Beautiful woman with long hair in a long white dress. He sits at the vintage table and looks away.” By Darya Komarova. This woman’s hair is perfect for Tessa, so I’m glad we get to keep her on the paperback and hardback covers. Cropping her not only avoids her modern eye makeup but also disguises the fact that her dress is a couple of decades too early for my character.

This is why I spent weeks searching stock sites for models who might “play” my characters, using every keyword I could think of. Ninja Tip: I found some photos by clicking on every vaguely decent image of a person in historical clothing that came up in my search, no matter the era, and then viewing the photographer’s other images. This is how I found “Girl in a hat.”

My main goal in redesigning my ebook covers was to say “I’m historical fiction!” at a small size. I knew the best way to do that was to include images of people in historical clothing plus distinctive setting images like an antebellum mansion and covered wagons. Because of branding, before I approached a cover designer with this idea, I had to find usable images of all five of my major characters as well as four good setting images.

The character who initially worried me most was Ésh, my “White Indian.” He couldn’t be wearing a feather headdress (he’s not a war leader), and he needed to be wearing a shirt (he’s not in a bad romance novel kidnapping a White damsel). As you can imagine, I was over the moon when I found this stock image:

This man isn’t 100% right for Ésh. His hair is too dark (my designer lightened it) and too short, and Ésh’s preferred weapon is a bow and arrow. The decoration on his head is called a “roach,” made of porcupine hair. This kind of headdress wasn’t typically worn by the Cheyenne, but it’s possible when you factor in trade and personal preference. At least it’s not an eagle feather headdress. As stock images go, this man is awesome. And yes, even “Ésh” was taken by a Russian photographer!

This is the image that made representing my central characters on my book covers possible. Since this is the only image of this model that I really liked, this man’s position also dictated that the other characters would be seen from the front. Most of my final character images weren’t uploaded to stock sites till 2020, so they weren’t available when my first designer and I were working on my original covers.

A slightly more useful caption: “Beautiful girl in historical dress, gloves, near the house,” also by Darya Komarova.

My designer lightened the hair of this model for me as well, so she would better resemble my character. Her hair is far too short, and Clare would wear it pinned up, but those aren’t things my designer could fix.

This is another case where only one shot of the model expressed my character; in the other shots of this woman, she looks snooty. Here, she simply looks spunky, perfect for Clare.

On the cover of Native Stranger, I’d hoped to make Clare’s skirt white so that it could better echo the tipis and vice-versa. However, the title had to be legible, and we had to keep a light-colored title for series branding. Therefore, the woman’s skirt had to have some color. My designer went for layering the skirt over the tipi image, which is a cool effect. Here are the final covers:

You’d never know it, but originally the stock image of the wagon train and landscape was black and white; my designer colorized it. That’s only the beginning of what a good designer can do. Next week, I’ll take you behind the scenes on the two most complex covers in my new set: Necessary Sins and Sweet Medicine. Psst: Joseph and David were each created from three different stock images!

Filed Under: Authenticity, Covers, Going Indie, Historical Fiction, Marketing, Publishing Tagged With: authenticity, covers, design, genre

The Importance of Warts

September 20, 2019 by Elizabeth Bell

My fellow historical novelist M. K. Tod invited me to write a guest post on her excellent blog A Writer of History. From Colonial Williamsburg to historical novelists, I argue that those interpreting the past should strive for authenticity, even—especially—when it’s not pretty. Or as I like to call it, The Importance of Warts. Read my post here.

You’ll find a clickable list of all my guest posts and interviews here. That page is also linked to the bottom of my About Me page.

Filed Under: Historical Fiction, Writing Tagged With: authenticity, interpretation, racism

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Recent Posts

  • My Debt to Colonial Williamsburg
  • Character Art!
  • Now in Audio: The Complete Lazare Family Saga!
  • Read or Listen for Free This Month!
  • Necessary Sins Is An Audiobook!
  • How I Found My Audiobook Narrator
  • Anatomy of a Book Cover, Part 2
  • Anatomy of a Book Cover, Part 1
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