Self publishing for family historians (again)

For the good people who attended the Society of Genealogists workshop on self publishing on Saturday 8th July, here as promised is the gist of what we covered:

First off, it is important to find out as much as possible about the process in order to avoid getting confused and/or ripped off. There are sharks out there.

Self publishing  is ideal for family historians for several reasons:

  • You get to control everything: the length of the book and the look of it including the cover
  • You can mix the genres (ie history/family history/memoir and fiction)
  • It doesn’t matter if you only intend to sell a few copies (see POD below)
  • You can edit the text, images and/or cover at any time and re-publish the book at no extra cost
  • Your book never goes out of print

PRINT ON DEMAND (POD)

This is what has made self publishing in print form possible and financially viable. Instead of having to print off hundreds or thousands of copies of your book, and find somewhere to store them, Amazon (or whoever) files your book electronically and only prints a copy when someone orders one. Unit costs per copy are the same no matter how many you order. Shipping costs on top vary according to the country the buyer lives in and how many copies he/she is ordering. So if for example you order ten copies to be sent to the same address it will not cost ten times as much as ordering one copy.

BEFORE PUBLISHING

EDITING

Having written your book and polished it to within an inch of its life, it’s a good idea to have it professionally edited. Every writer no matter how successful or experienced needs an outside eye to check for overall structure, clarity, repetition and consistency.

(That said, if you are only intending to publish for your immediate family this may not be essential, though the right editor can always improve any book.)

COPY EDITING & PROOFREADING

Copy editing means checking the book for grammar and sentence structure. Some editors will do this for you, but don’t expect it.

Proofreading means checking for typos. You should be able to get a sharp-eyed friend or colleague to do this for you.

Once your book has been written, rewritten, edited and proofread, the next step is to gather it together in two documents:

  • INTERIOR
  • COVER

The interior consists of Front matter, text and End matter. What goes where is a matter of choice but generally speaking this is what I go for:

INTERIOR FRONT MATTER  

  • Title page
  • Copyright page
  • Dedication/quote page
  • Map/family tree/photo
  • Table of contents

INTERIOR END MATTER

  • Afterword
  • Acknowledgements
  • Appendix & chapter notes (or notes if you have footnoes)
  • Bibliography
  • Author biography
  • Index

FOOTNOTES

In my first book The Worst Country in the World I didn’t use footnotes for various reasons: a) I didn’t want to interrupt the flow of the text and b) footnotes don’t generally work in ebooks. Instead I referenced my sources in the Appendix and Chapter Notes, and expanded on various things only the seriously interested, such as family members, might want to know. This was a personal choice however. With my current book I may rethink.

DESIGN

Whether you decide to go it alone or get people to help you it is useful to have some idea of what you want your book to look like. It can be helpful to find a book whose layout you like and use it as a template. (I chose Kate Grenville’s The Secret River for the plainness of style, clarity and size of font and relatively generous margins.) These are the considerations:

  • Page/trim size: Amazon’s POD templates are limited to standard book sizes such as 5” x 8” (standard novel), 6” x 9” (standard non fiction) etc. (I chose 6” x 9”)
  • Font and font size: (I chose Palatino 11 point – on the large size, deliberately; I experimented with different fonts and sizes, & margins,  by printing out a few pages and cutting them down to the relevant size, but it’s difficult to see how it looks until you can see the full printed proof)
  • Margins: (mine were top & bottom 1.9cm, inner 2 outer 1.5, gutter .33)
  • Chapter headings layout: (Aligned L, R or C, upper or lower case, start some way down the page)
  • Extras: such as drop caps (1st letter of 1st sentence in each chapter enlarged), small caps at beginning of new chapter, headers
  • Images: (photos, maps, family trees) – see below for copyright

COVER

Received wisdom says don’t try to create your own book cover unless you are an experienced graphic designer or au fait with Photoshop. Professionals know what is eye-catching and what is not and what is appropriate for the genre. They should also be clear about how many versions and amendments they are willing to provide for their fee. Fees differ according to how much they are required to do; original artwork will obviously cost more than if you provide your own image, or if they are able to use stock images from copyright free sources. Expect to pay from around £250 upwards.

Recommended cover designers

Alternatively look online for cover designers and if you find one you like, contact them direct. Likewise in a bookshop: the designer’s name may be on the fly-leaf of the book, otherwise contact them through the publisher.

COPYRIGHT

As we touched on in the workshop copyright is a minefield, and I cannot pretend to be an expert. However I did come up against a copyright issue when I wanted to use a 19th century painting by Australian painter Tom Roberts for my cover. The image itself was out of copyright but the high-resolution photo of the image online belonged to an art gallery in Ballarat, Australia. They allowed me to use it on condition I signed a detailed license form stating I would not change the image or superimpose text on top of it, and that I would send the final proof to them for their approval. In the end my cover designer decided she couldn’t comply with their demands, so we didn’t use it.

So while an image may be out of copyright the online photo of the image – or in the case of books or documents, the scanned version uploaded online by an organisation or library – may not be.

BLURB

This is what appears on the back of a paperback or on your Amazon page. The blurb is notoriously difficult to write, but it is your selling tool, and should be:

  • Brief – no more than 200 words
  • Written in the third person present tense
  • A selling tool not a synopsis

Here for what it’s worth, is my blurb for Worst Country:

In 1787 a handful of people – convicts, marines and government servants – sail across the world to settle a new colony and call it New South Wales.

In 1801 Mary Pitt, a widow with five children, migrates to New South Wales from her home in Dorset to live among these same convicts.

Two hundred odd years later Mary’s great great great great granddaughter travels to what is now Australia to discover why her ancestress risked the lives of her entire family to make her home in a penal colony. She uncovers tales of astonishing bravery and bloody-mindedness, the origins of a unique form of class distinction, why her own Australian/English mother was the person she was and how what was once regarded as the worst country in the world became one of the ‘luckiest’.  (135 words)

I’m not saying this is an ideal example (nowadays I think I’d edit it down a tad), but what I’ve set out to do in three paragraphs is:

1) The original story
2) My family’s part in the original story
3) My quest to investigate 1) and 2)

~~~~~~~~~~~~

HOW TO GO ABOUT SELF PUBLISHING

There are three basic options

  • DIY using POD with either Amazon Createspace or Ingram Spark – the cheapest option
  • AIDED – through a reputable publishing company or individual
  • HIGH-END – custom-made with special paper, size and shape and/or binding, eg coffee table book. Ideal for image-heavy books.

DIY – This is the option I chose but I would only recommend it if you have a lot of time and patience. I formatted both the paperback and ebook versions of my book – it took me longer than it should have or than it would do now. It isn’t that difficult, you don’t need any particular IT skills no matter what the books tell you.

If you are interested in the nuts and bolts of doing things yourself you can find more technical details here

Amazon Createspace: https://www.createspace.com Amazon are the market leaders for self publishers. They may be behemoths, and tough employers, but they are very efficient and easy to deal with. Their submission guidelines are very straightforward and easy to follow. They can also show you what kind of royalties you can expect to receive according to how your book is priced. The submission process is free, they don’t start to make money until you start to sell books. They also provide their own free ISBNs and barcodes.

Ingram Spark: http://www.ingramspark.com Ingram have been around forever but Ingram Spark, the self publishing arm, is relatively new on the scene. The advantages of IS are they have print outlets in the UK and Australia as well as the US (Amazon CS is US-based), their distribution is considered to be better, and for the Amazonphobes, they are not Amazon. The quality of print is also slightly better, in my experience. The drawbacks are you have to provide your own ISBN (available in the UK in batches of 10 through Nielsen – http://www.isbn.nielsenbook.co.uk/controller.php?page=121) – and you have to pay a small fee to submit your ms (unless you are a member of ALLi, see below).

AIDED – Here is where you get someone else to do the work for you. You can buy in services a la carte so to speak, in other words you can provide the cover yourself but hire someone to proofread the book, or to format it.

Before contacting an outside organisation, there are things to be wary of.

  • DO be clear exactly what you are looking for
  • DO make sure you hang onto the rights to your book: if you’re using a self pub company pay the one-off fee to get the book up there and that’s it
  • DO make sure the royalties come straight to you and not through a third party: otherwise you’re dealing with vanity publishing and have the worst of all worlds and will make zilch money
  • DON’T sign any long-term contracts

Recommended organisations:

I Am Self Publishing https://www.iamselfpublishing.com. A young brother and sister organisation, very friendly, very savvy, experienced in producing all kinds of books. They offer an initial no-obligation consultation, either in person or on the phone.

SilverWood http://www.silverwoodbooks.co.uk/packages – Silver, Gold and Platinum service. Much recommended by fellow indie publishers.

Matador  http://www.troubador.co.uk/matador.asp  A large organisation with a rather confusing website. Probably American but also based in the UK. Again recommended by indie authors.

HIGH END – Custom-made, recommended:

I Am Self Publishing – see above
Lifelines Presswww.lifelinespress.com
Pynto – as above

WEBSITES

If you don’t already have your own family history website I would recommend creating one. It is an excellent way for other family members to get in touch with you. I have a static (ie not a blog) site at marymatchampitt.wordpress.com and I’ve had all manner of distant relatives contact me with very useful information. You can create one for free, or for a small annual hosting fee, at WordPress.

RECOMMENDED BOOKS

ALLi guidebook
Published by ALLi and available on Amazon and elsewhere*
ALLi 2
Published by ALLi and available on Amazon and elsewhere

 

 

 

 

 

 

 

 

 

*There seems to be a problem with this Amazon link. I will query it with ALLi and repost.

RECOMMENDED WEBSITES

An organisation run by indie authors for indie authors. They publish a list of recommended service providers (available to members only) and books (available to all). They also have a closed Facebook page and monthly meetups in London and elsewhere, plus they offer other perks such as reduced rates with Ingram Spark and free entry to the London Book Fair, among other things. If you want to know more, click on the ALLi logo on the top right of this page.

MARKETING

Not of great relevance to family historians necessarily. But if you want to submit an article or ask for reviews here are some online magazines.

For example when I contacted Who Do You Think You Are for a review they were pretty sniffy, but I sent them a copy anyway and heard nothing more. However they do – or did – have a feature in their magazine called ‘My Family Hero’ and when approached were very keen to include a story about my ancestress.

EBOOKS

Whether or not you are thinking of publishing in e-form (not so suitable for picture-based books), ebooks are easy to produce – again on your own or with help – and you receive a higher royalty (70% through Amazon compared with around 20-25% for paperbacks). Most indie authors sell more ebooks than paperbacks, partly because bookshops are generally reluctant to stock  indie published books, and partly because of the cost of POD. My sales are 90% + ebook, and of those, 95% are through Amazon Kindle.

Submission is straightforward, and free, through Amazon Kindle Direct Publishing: https://kdp.amazon.com/

For other e-devices such as Apple iBook, Nook and Kobo, you can use one site to distribute to all platforms such as Ingram Spark or

Smashwords: https://www.smashwords.com
Draft2Digital: https://www.draft2digital.com/

Again it is free to submit your book.

That’s about it. If there is anything you would like to add or comment on, or if you have any further queries, please either comment on this post or email me at patsytrench@gmail.com.

 

 

Charles Dickens and Australia

As part of my researches into my great-great-grandad George Matcham Pitt, I was scrolling through Trove looking for information on an Aboriginal man named ‘Fryingpan’ – who had been accused and convicted of spearing a cow on my ancestor’s property on the Gwydir  – when I came upon what looked like a first-hand account of the trial written by none other than Charles Dickens.

Charles Dickens (independent.co.uk)
Charles Dickens (independent.co.uk)

Wow, I thought, what a coup. What family historian isn’t thrilled at the thought of direct connections with famous people?

The trial took place at Maitland Assizes in 1842. To be precise, the only man tried that day – for some reason the writer wasn’t aware of, Fryingpan, while in court, did not enter the dock – was Fryingpan’s friend The Duke of Wellington (these monikers presumably bestowed on them by convicts), also accused of spearing a cow. The writer gave a vivid description of the defendant with his ‘coarse-matted’ shoulder-length hair, bright expressive eyes and a mouth ‘enough for two faces’. It took some pushing and shoving to get him into the dock apparently, and then, the writer went on:

‘When fairly confronted with Sir James [the judge], a violent grin broke out half-round Wellington’s head, evidently caused by his Honor’s wig, bands, and red gown, on which the savage’s eyes seemed to be fastened with a fascinated stare. Nor did he, in his unsophisticated nature, attempt to conceal the emotion excited within him; for, notwithstanding the additional gravity laid on by the judge for the occasion, the joke appeared to improve so much in the black man’s mind that at last he laughed outright. Moreover he seemed to grin a kind of circular invitation to all the people in Court to join in the laugh with him. He grinned the rebukeful countenance of the Sheriff into such a state, that that solemn officer of justice was obliged to turn his face away, and discharge a short private laugh of his own. He grinned at the counsel and the crowd, until giggling became irrepressible, and even the countenance of the Chief Justice, who had a keen perception of the ludicrous, was becoming rapidly unmanageable.’

Eventually things calmed down and the trial was under way. Wellington, through an interpreter, claimed the evidence against him was ‘a pack of lies’, but unfortunately his plea was contradicted by several witnesses and he was found guilty and transported for ten years to Van Diemen’s Land. He was led from the court still grinning, ‘as if he had got to the end of a pleasant entertainment’.

The writer, while enjoying the spectacle, and disregarding his use of the word ‘savage’, was on reflection appalled and dismayed. What right do we have, he wrote, to submit ‘this poor child of nature’ to ‘an English court of justice, mock his ignorance with a jargon of law forms, and conclude by tearing him from his hunting grounds, his wife, and little children, for ten years?’

The tone of the piece, the humour and the empathy and understanding of what it meant for an Aboriginal man to be stripped of everything he had ever known, sounded pure Dickens to me. The Trove article appeared in the Wingham Chronicle and Manning River Observer in 5th September 1919, and clearly the newspaper thought the same. It didn’t take me long however to discover that Dickens himself never actually visited Australia, even though it featured in several of his books in one way or another, and he sent two of his sons there (about whom more at another time). The original article, Going Circuit at the Antipodes, appeared in Household Words – which called itself a Journal ‘conducted’ by Dickens – in 1852, and like all the other contributions, there was no author credited.

Household Words-1
Household Words (googlebooks.com)

So who was the mystery writer?

A bit more research turned up a book compiled by a Canadian writer called Anne Lohri (available in the fabulous British Library), in which she lists all the contributors to Household Words . It transpired the writer was a “London barrister” and part-time journalist called Archibald Michie, who’d arrived in Sydney a few years earlier and had been invited to attend the court by an Australian lawyer friend.

Anti-climax? Well yes and no. The fact that the writer was not Dickens does not make it any less noteworthy as an account, by an outsider, of how colonial law dealt with Aboriginal wrongdoers. And anyway, Dickens thought nothing apparently of taking a story sent to him and ‘playing with it until it was practically rewritten’ (according to Coral Lansbury, JRAHS, Vol 52 part 2, 1966).

The one thing it does do is throw up the pros and cons of trying to write a book about family history: getting sidetracked by famous people makes the exercise both all the more fascinating and all the more endless. Publication date? Don’t mention it.

Patsy Trench, London, June 2017

 

 

 

My five favourite books

In what she describes as a ‘Five Faves Geneameme’ Jill Ball of Geniaus, the Australian family history blog, has invited other family history bloggers to share details of five books they’ve found most useful in their ‘geneactivities’. (Enough puns already … )

So here, whittled down with great difficulty and in no particular order, are my chosen inspirations:

 

Australia, Frank Welsh (cropped)  Australia: A New History of the Great Southern Land, by Frank Welsh (The Overlook Press, New York, 2006)

Since my books are set very much in the context of early colonial Australia I needed to gen up on my history. This book is not just all-encompassing, it looks at Australia in the context of a larger colonial world. It’s also very readable and has a nice, wry take on historical events, which I really like. 

 Station Life, Peter Taylor Next on the list is Station Life in Australia by Peter Taylor (Allen & Unwin, Sydney, 1988)

Also very readable, with some wonderful anecdotes about the New Chums in early colonial Australia. (The ‘New Chum’ was the Pom who arrived fresh-faced and dewy-eyed and ready to make his fortune on the land without knowing a horse from a heifer; a bit like me.) Essential introduction to a subject I knew nothing about.

 The Timeless Land, Eleanor Dark

Eleanor Dark was doing in the 1940s what other writers such as Kate Grenville don’t dare to do in the 21st century, which is to write about events such as the arrival of the First Fleet from the point of  view of Aboriginal people. In fact she writes from the point of view of everyone, from Governor Phillip to convicts and settlers, evenly-handedly and with great perception and understanding. The Timeless Land is book one in a novel trilogy.

 Macquarie Country, D J Bowd cropped

 

Macquarie Country by D G Bowd, (Library of Australian History, 1979)

I had to include this one. It’s about the Hawkesbury – where my ancestors made their first home in New South Wales in 1802 – in the days of Governor Macquarie. It even features my family, who were visited by the governor and his lady wife soon after they arrived in the colony. Full of vivid and useful detail about the earlier days of settlement.

 Old Days Old Ways, Mary Gilmore

 

In her memoir Old Days, Old Ways (Angus & Robertson, Sydney, 1934) Mary Gilmore was actually writing about her childhood in the Riverina district in the latter part of the 19th century, where she was brought up. The book is a cornucopia of intricate and sometimes hilarious social history; such as the rope that was strung across the room during the Wagga Wagga Gold Cup ball in order to segregate the ‘grandees’ from the ‘commonage’; and the way in which ladies riding horses in crinolines wore weights in their hems in order that their ankles should remain hidden from the gentlemen. Like Eleanor Dark she writes with great humanity and understanding and, crucially, humour.

 

 

 

 

 

 

 

Why do you write? – The power of negative motivation

So, dear writer, what is your answer to this question?

sketch reduced
Sketch by Anna de Polnay

I expect many people will say ‘Because I have to’ or ‘Because I’ve always done it/wanted to write’ or even ‘I feel I have something to say’. Some might actually confess they enjoy writing. (Weird, but possible.) Some non fiction writers are probably motivated by a passionate interest in a subject, a place, or maybe even themselves and their own story.

My answer to the question is a rather negative one: ‘To fill the void’. Or to put it another way, because I had nothing better to do.

I’m not being entirely disingenuous. If you’ve ever felt the need or the urge to express yourself in a creative way then nothing else will give you the proper fix. Writing books is one of the most purely creative ways of expression – it’s just you and the page, or the screen, with no one telling you what to do or, to put it another way, trying to curb your creativity. If this is indulgence so be it, but it’s not an easy option to say the least.

I once earned a living writing scripts for television. I really wanted to be a playwright but having spent many years reading and commenting on other writers’ plays I couldn’t find any ideas that I could make work on a stage. I never saw myself as a writer of books partly because it is an impossible way to make a living and partly because, yes, I confess it, I’m not much of a reader. I’d rather watch a play or a film, no question.

But when I hit my sixties and I gave in my part-time job I didn’t know what to do with myself. Too old to be employed, all I had to keep wolf from door was bits and pieces of teaching and theatre tour organising and a small state pension. So I decided to do two complementary things: let my flat and go off to the far side of the world to write a book about my ancestors, the former paying for the latter.

And it worked. It took me several years, and a lot of hard work and learning. In my first effort at writing a scene set in late 18th century Dorset I had one character crossing his legs four times without ever having uncrossed them, ending up therefore as a corkscrew. As an (ex) actor and would-be playwright I could handle the dialogue, within reason, but had terrible trouble with the bits in between; where in a play you can simply write ‘pause’ or even ‘silence’ or at a pinch ‘beat’, in a book you’ve got to have your character do something, and I still find that tricky (hence the corkscrew legs). Not to mention the ‘she saids’ and ‘he saids’.

George Matcham (Illustrated London News 10 October 1931, p573) bl newspaper archives-page-001
George Matcham, family member, the man who crossed his legs

But along the way I discovered a passion, which simply put is – for finding things out and writing about them in (what I hope is) an entertaining way. The topic in my case was early Australian colonial history, as seen through the eyes of my ancestors, about which and whom I knew nothing and cared less. The first is not a disadvantage because part of the process of writing about what you don’t know is discovering things you find interesting and then finding a way to convey your interest to other people. The caring naturally follows. Or if it doesn’t, then look for another topic.

So what was once a void has now been filled to bursting point with what has become a passion and an addiction. Twelve years later I am halfway through book two of my Australian ancestors, still struggling with the bits between the dialogue and the he saids and she saids, but still engrossed in the business of learning about, in this case, Australian agricultural practices in the 19th century and trying to make it interesting.

It hasn’t earned me a living, needless to say. I’m not even sure that I’ve broken even. Truthfully speaking when asked my profession I should say ‘landlady’. But hard work though it is it gives me a huge amount of pleasure and satisfaction, not least to know that in my seventies I am still learning things; and that, who knows, one or two people out there may also discover something as a result of my efforts.

So there’s my answer to my own question. I’d be interested to hear yours.

Pitching your story

for-sale-cropped

Yesterday evening ALLi (Alliance of Independent Authors) organised a very enlightening meeting with film director and writer Charles Harris on the thorny topic of how to sell your story.

jaws_in_space_3d
(charles-harris.co.uk)

He was referring specifically to the film industry of course, where busy producers expect writers looking for a commission to grab their attention in one sentence, or preferably one phrase, as in ‘Jaws in Space’, which is apparently how the writers sold the idea of the film that turned into Alien, and the title of Harris’ latest book.

Of course if you are an author, and specifically an indie, you will not necessarily be verbally pitching a story in order to get a commission. But what you will be doing is trying to grab readers’ attentions on online retail sites like Amazon, so the same principle applies to your blurb.

In my family history workshops I encourage participants to write a blurb for their book there and then, and then to read them out to the rest of us for our comments: did those few sentences make you want to read the book?

It’s fiendishly hard as we all know. But there’s another thing: if like me you get some way into your story and think to yourself why did I start to write this book in the first place? it helps if at some point you have already written down the answer, in other words what it was that fired you up in the first place, which is to say, the blurb. The blurb can change, it undoubtedly will, and that doesn’t matter. But as Charles mentioned last night for all writers when it comes to pitching an idea, the most important person you should be targetting is yourself.

It can also be a useful unblocker, when you feel yourself grinding to a halt, to take a break and write down, in no more than three sentences, the essence of the story you found so exciting all that time ago.

Thanks to Charles Harris for the talk, to Helena Halme for organising it, and to Waterstone’s Piccadilly for providing the premises (and a few bottles of wine).

If you are interesting in attending meetings like this then it’s worth joining ALLi (click on the logo on the right).

Patsy Trench, London
November 2016

 

Writing about what you don’t know (2)

Writing about droving and farming in 19th century Australia from a flat in north London?

… is quite a challenge, believe me, especially when the writer barely knows a heifer from a ewe.

sheep-droving
Sheep droving, after a fashion. (Yes, I have been on an Aussie farm)

I first blogged on this topic a year ago; I was about to embark on my latest oeuvre about my great great grandfather, who was a pioneer farmer and stock and station agent in remote 19th cenury New South Wales. I’d been putting it off thinking this is completely beyond me, but then I was reminded that that is precisely what I said about my first book The Worst Country in the World, about my original Australian ancestress.

G M portrait
George Matcham Pitt, my great grandfather

I am not saying I have cracked it, but there are positive advantages to writing about unfamiliar topics, and the most obvious one is:

If you can take an unfamiliar subject about which you know nothing and find it interesting, then it should be possible to make it interesting to your readers.

We’ve all picked up a newspaper or maybe glanced at someone’s blog and found ourselves drawn in to a topic we didn’t think we had any interest in. It’s called good writing of course.

cows
These are cows

There’s another advantage: whatever I’m writing about there is no pretence. I am looking at things like cattle droving for instance with the fascinated and sometimes bemused eye of the outsider. Do cattle really behave like that? What do you mean all sheep are not the same?

rabbit-proof-fence
Rabbit fence

To see what I mean take a look at my chapter on The Drover. I’d be interested in your comments.

Patsy Trench
London, 2016

patsytrench@gmail.com

Keeping a diary

If Shakespeare had kept a diary there would arguably be far fewer books written about him.

shakespeare-2

If we knew for instance

  • What he got up to during the ‘missing years’
  • How he got to leave his home in Stratford and fetch up as an actor/playwright in London
  • How much of the 37 plays he actually wrote
  • Whether Shakespeare was Shakespeare or someone else
  • Who the Dark Lady of the sonnets was
  • Whether or not he got on with his wife
  • Etc etc etc

We wouldn’t need to endlessly speculate. And it would not be half as much fun.

~~~~~~~~~~~~

What will people say about you when you’re gone? 

Diary-less ancestors tend to be remembered for what they did rather than what they might have said. Or rather for what they did that made the public records. So we are likely to know more about men than women, especially if they played a prominent part in society. We may also know more about the ones who got into trouble, and the ones with police records, especially if they ended up in Australia.

silhouette-sepia-again
Who was Mary Pitt?

As a family historian I’d have given anything for my ancestors to have kept diaries so I knew exactly why my four times great grandmother decided to emigrate to a penal colony. 

On the other hand lacking the facts gives one scope for one’s imagination; so what would have been a case of simple transcribing becomes something rather more creative. The challenge of filling in the gaps while remaining as true as possible to the character you think your four times great grandmother was, for instance, is a fascinating one. 

A certain amount of mystery is no bad thing.

If you want to read the story of my pioneering Australian ancestress please click here: The Worst Country in the World.

~~~~~~~~~~~~~~~~~

 Who was Claudia Faraday?

brown-flipped-smaller
Claudia Faraday?

Claudia kept a detailed diary of a crucial period in her life when she made a discovery that altered her entire outlook on life and on the people in it. The fact that she kept this diary in her loft, to be discovered by generations to come, suggests to me she wanted them to be found, and to be published.

Nonetheless such was the intimate nature of the diary I went to great lengths to protect her reputation by not just changing her name but the names, and some details, of her daughters and her friends, and a few other bits and pieces beside.

So I defy anyone to identify her.

If you’d like to read her story click here: The Unlikely Adventures of Claudia Faraday.

Have you kept a diary?

I have, from time to time. It makes for hilarious and sometimes embarrassing reading. It is also a handy reminder of the person you once used to be, and if you think – as I often have  – you are still an eighteen-year-old wrapped up in a middle-aged woman’s body, it is good to be reminded that, actually, you aren’t.

But I wouldn’t want anyone to read them, no way. Unlike Claudia I will make a point of destroying them before I pop my clogs.