Gathering the Research Bits
While The Roman Heir is in editing process, I’m scouring for ideas for the next several stories. Never forgetting setting, I’m looking at meadows and woods for The Vellum Scribe.
The Vellum Scribe
Although I went to Italy for initial research, I was in the north at Ravenna, the political center and king’s seat, at the time of the Argolicus Mysteries. Except for The Roman Heir, set in Ostia at the mouth of the Tiber, the mysteries are set in the far southern province of Bruttii. Cassiodorus mentions the area frequently in his letters, where I found the venal Governor Venantius in The Used Virgin shortchanging locals and creating arbitrary punishments.
Research When You Can’t Be There
For a sense of place when I’m unable to travel I cruise around Google Maps to find a particular location. Then once I know the location I look at related images and videos. For the Argolicus mysteries, I’m watching videos and collecting images of southern Italy, especially around the town of Squillace. Argolicus’ estate is in the hills above the town. Here’s a modern quick tour of the town.
And a friendly tour of the Ghetterello river which runs from the hills, down to Squillace from Massimo Castelli. This one’s in Italian but you can see the valley and surrounding hills.
The waterfall in the Gheterello surrounded by boulders is the setting for an ambush in a future story.
Books for Details
For a sense of time, I turn or return to books. Currently, I’m rereading The Ostrogoths from the Migration Period to the Sixth Century ed. S.J.B. Bamish, Federico Marazzi. My son bought it for me as a birthday present a year ago. The book is one of my main sources for political goings on at the time of the Argolicus mysteries. Look at this. There are at least three good stories in just this one passage.
….at least one town, Squillace, is prey to violent troubles that suggest conflicts with the special aim of seizing the episcopal see. More than one bishop there has been killed, and visitors have to be appointed. A priest, Celestinus, is complicit in the murder of his bishop and kinsman at an unnamed town which may well be Squillace. Again, in an unnamed town which may perhaps be Squillace, the bishop is murdered by a creditor to whom he has made over Church property to settle his debt. The archdeacon Asellus allows the murderer to be killed in a riot before he could reveal if he had accomplices.
The Ostrogoths from the Migration Period to the Sixth Century ed. S.J.B. Bamish, Federico Marazzi p. 192
The Transformation Process
One absolutely essential quality a historical fiction author needs is the ability to transform dry text like this (I Ieft out the various footnote references) into a story with interesting characters who interact within their political, cultural, and physical setting.
Imagination makes the story.
Zara Altair combines mystery with a bit of adventure in the Argolicus mysteries. Her Argolicus Mysteries are based in southern Italy at the time of the Ostrogoth rule of Italy under Theoderic the Great. Italians (Romans) and Ostrogoths live under one king while the Roman Empire is ruled from Constantinople. At times the cultures clash, but Argolicus uses his wit, sometimes with help from his tutor Nikolaos, to provide justice in a province far from the King’s court.
Setting is important in any story. In historical novels, setting details give the reader a sense of what is around the characters. Without setting the characters are "floating in space" with nothing to ground them to surroundings.
In the video of the mosaic discovery, the details of vibrancy and varied images are a fine example of the style of flooring in Italy and the Mediterranean.
Setting details are the perfect way to enrich historical fiction without an overload of info-dump. When characters in The Roman Heir gather in a new room to meet the murdered man's widow, the description is brief but sets the tone of the meeting.
Aemilia Atia, Philo’s mother, had left her bedroom and gathered everyone in the entertainment room when she learned of the guest. The floor was covered in a dizzying array of black and white mosaics and the walls were painted with intricate scenes of trees and flowers and young people playing musical instruments in nature. Braziers, next to seats, warmed the room from the winter cold. Slaves brought trays of gustum: small tidbits of fruit, cheese, and salads for nibbling placed on platters and bowls around the seats, but no one was eating.
Homes at the time of the story (512 A.D./C.E.) were highly decorated. A floor plan of the house in Ostia illustrates the elaborate mosaics in every room. Even the kitchen had designs on the floor, though not as elaborate as other communal rooms. In the scene with the widow, the characters are gathered in the room marked number 10.
Italian homes of the time were not limited to vibrant and intricate flooring. Walls were painted in bright colors often with detailed figures. These are the walls in the "side room" where Argolicus first sees the body of the murdered Patrician.
Our current Western decor--from rustic to industrial to modern--is far from the colorful indoor life of Italian life at the time of Theodoric.
Visual imagery is a powerful aid in writing research, especially for historical genres. I find myself looking at images as I write scenes to help me get into the story.
Zara Altair writes mysteries set in ancient Italy. Argolicus thinks he has retired, but he and his tutor, Nikolaos, are drawn into puzzles, politics, and murder.
Here is Argolicus' home in Ravenna in Felix Ravenna: A Mosaic, my work in progress.
Plan for No Plan
My day job is ghostwriting. My current project is a thriller. The culmination of the story takes place at Chichen Itza on the Yucatan Peninsula in Mexico.
Pictures, Google Maps, and other resources cannot replace the experience of being on site.
The author had personal reasons for visiting over and above the story. She wanted to connect with relatives she had never met. I had several plot points I wanted to clarify.
We arrived in the evening with no set plans other than to walk all of the archeological site of Chichen Itza. Tired and hungry we met for dinner on the terrace of our hotel and spa. The evening air was warm, musicians played guitars, our dinner was delicious. The author went to the front desk to ask if they knew any tour guides who were in her related family. The host pointed to the musicians and said that one.
A few minutes later Jaime Uh Mar Rufo joined us at our table and the rest of the trip was filled with excursions.
The following morning we were up before sunrise to watch the sun come up over the Warrior Temple and the Chac-mool stone statue that held the head of the sacrificial ball team captain.
While Jaime explained the mathematics of the Kukulkan Pyramid I was searching for the spot where the MacGuffin could hide in plain sight.
We continued our walk around the main site, learned about the incredible competitive ball games between competing communities, learned to recognize repeated symbols like the serpent, the jaguar, the eagle, and the monkey. I found the place to hide the MacGuffin. And, as we were leaving we saw the guards for the archeological site clustered in one place, making it much easier for my characters to sneak in at night.
We returned to the hotel for breakfast and invited Jaime to join us. He was a non-stop source of Mayan lore. At home he and members of his family speak Mayan, not Spanish.
After breakfast we continued our tour to the old city. For the first hour, no one else was with us while we spent time at the oldest building, Akab Dzib, the house of mysterious writing. Exploring the plants and trees and the nearby sink hole I found the site where the protagonist confronts the evil antagonist and wins. Two down, one to go.
Hot and tired, we walked back and encountered the thousands of tourists that arrive each day streaming in to the archeological site. Along the trail back to the hotel, among the trees, I found the right spot for the hired killer to attack the protagonist and her group of friends.
The Extra Added Bonus
You'll learn more from your on site visits if you are friendly and happy. Ask questions and pay attention to answers so you can ask more questions. In another article on research I talk about the mind set for being open to learning from people you meet.
Being open to what people have to share leads to deepening your knwledge. It's the biggest benefit to doing on-site research. Because of our interest in natural healing and local plants, Jaime invited us to his home the following day to meet with his mother-in-law who is a local healer. He translated for us since she spoke no Spanish or English, only Mayan.
The neighbors were celebrating a Hesme (Mayan baby blessing) with a party afterward and we were invited. Everyone was friendly, open, and welcoming. I met and talked with the community wise man (Jaime translating).
Stay Open to Experience
Our research trip was a brief two days on site but I gathered so much material for the story. Things I never would have thought of without being there. Staying open and communicating clearly are two skills every author needs for the surprise discoveries an on site research trip provides.
Zara Altair writes mysteries set in ancient Italy. Argolicus thinks he has retired, but he and his tutor, Nikolaos are drawn into puzzles, politics, and murder.
She consults with a select group of writers as The Story Bodyguard.
Zara Altair, Author
The puzzle of politics, the mystery of murder in ancient Italy. After Rome, before the Middoe Ages, Italy belonged to the Ostrogoths.