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Author and Novelist Glynn Young

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Research a Contemporary Novel?

February 17, 2020 By Glynn Young Leave a Comment

The four, soon to be five, novels in the Dancing Priest series are set in the near future, at least far enough away from the actual present to avoid any notion that the characters are based on real people. But they’re essentially contemporary fiction, falling into the space between general fiction and Christian fiction.

Why would contemporary novels require extensive research? Lots of reasons.

You’re writing about a country or culture not your own. You’re writing about people who do things you’ve never experienced. You write about a painter when you’re not one. You’re writing about an institution you’ve never been part of. You’ve put your characters into a geography, even if ever so briefly, you’ve never visited. 

Many people – historians and novelists alike – write about the American Civil War, or World Wars I and II, but were never part of it. Some write mysteries set a generation before they were born. Some write about peoples and cultures that aren’t their own (an often-dangerous thing to do these days).

When Dancing Priest first started in my head, I didn’t know a lot of things about what I was writing about. But other people did, and other people had written about them, published books about them, even created online courses about them. All these sources were readily available.

Here’s a partial list of the reading I did, the web sites I visited, and the courses I took to create the Dancing Priestseries. It does not include an untold number British novels, play scripts, and poetry collections, but they, too, were part of the research effort.

History and Biography

Crown, Orb & Sceptre: True Stories of English Coronations – David Hillam

King John – Marc Morris.

Queen Victoria’s Buckingham Palace – Amanda Foreman and Lucy Peter.

The King’s Speech – Mark Logan and Peter Conradi.

Victoria & Albert: Our Lives in Watercolour.

A Brief History of the Bodleian Library – Mary Clapinson.

Behind the Throne: A Domestic History of the British Royal Household – Adrian Tinniswood.

The History of England series: Foundation, Tudors, Rebellion, Revolution, and Dominion – Peter Ackroyd.

London: The Biography – Peter Ackroyd.

How the Scots Invented the Modern World – Arthur Herman.

London: The Illustrated History – Cathy Ross and John Clark.

Windsor Castle – John Martin Robinson.

A History of the English-Speaking Peoples Since 1900 – Andrew Roberts.

God’s Secretaries: The Making of the King James Bible – Adam Nicholson.

Tyndale – David Teems.

The Life and Prayers of St. Patrick.

St. Martin-in-the-Fields – Malcolm Johnson.

Current Affairs

Reimagining Britain: Foundations for Hope – Justin Welby.

Reinventing the Idea of a Christian Society – R.R. Reno.

This is London – Ben Judah.

Painting

J.M.W. Turner – Michael Bockemuhl.

J.M.W. Turner: Painting Set Free – David Brown.

Whitechapel at War: Isaac Rosenberg and His Circle – Rachel Dickson.

Nothing But the Clouds Unchanged: Artists in World War I.

Lowry and the Painting of Modern Life – T.J. Clark and Anne Wagner.

Anselm Kiefer – Exhibition at the Royal Academy.

Travel Books

Various London, England, and Britain guidebooks by Rick Steeves, Eyewitness Travel, Knopf Map Guides, National Geographic Traveler, and American Express.

On Glasgow and Edinburgh – Robert Crawford.

London Walks, London Stories – David Tucker.

London – A View from the Streets – Anna Maude.

Anglotopia’s Dictionary of British English.

Night Walks – Charles Dickens.

A Guide to Dickens’ London – Daniel Tyler.

Walking Dickens’ London – Lee Jackson.

Souvenir Guides

Buckingham Palace.

The Royal Line of Succession.

Imperial War Museum Guidebook

Wallace Collection. 

The British Library.

Christ Church, Oxford – A Brief History.

Discover Kensington Palace.

Westminster Cathedral Guidebook.

Canterbury Cathedral Guidebook.

Charles Dickens Museum.

Tate Modern and Tate Britain guidebooks.

A Guide to the National Gallery.

National Portrait Gallery Guidebook.

Online Courses

Propaganda and Ideology in Everyday Life – University of Nottingham.

England in the Time of Richard III – University of Leicester.

Robert Burns: Poems, Songs, and Legacy – University of Glasgow.

A History of Royal Fashion – University of Glasgow.

Introduction to the U.K. Parliament: People, Processes, and Public Participation – Houses of Parliament.

Wordsworth: Poetry, People, and Place – Lancaster University.

World War I Heroism: Through Art and Film – University of Leeds.

The Tudors – University of Roehamption / London.

Blogs

Spitalfields Life.

A London Inheritance.

London Wlogger. 

English Historical Fiction Authors.

Books and research specifically related to Dancing Prince, last in the series

Anglo-Saxon Kingdoms – Claire Breay and Joanna Story.

Mercia – Annie Whitehead.

Ivory Vikings – Nancy Marie Brown.

The Lewis Chessmen – British Museum.

The Lewis Chessmen – Caldwell, Hall, & Wilkinson.

The World of the Vikings.

Dragon Lords: The History and Legends of Viking England – Eleanor Parker.

Online course: Hadrian’s Wall – Life on the Roman Frontier – Newcastle University.

Archaeology: From Dig to Lab and Beyond – University of Reading.

Top photo by Clay Banks via Unsplash. Used with permission.

“Dancing Prince” – the Fifth Novel in the “Dancing Priest” Series

February 11, 2020 By Glynn Young Leave a Comment

The news is rather bittersweet.

The sweet news: The fifth novel in the Dancing Priest series is in editorial production. Tentatively entitled Dancing Prince, it’s the story of the youngest child of Michael and Sarah Kent-Hughes. The story covers almost two decades, from the time Thomas Kent-Hughes is four until he’s 23. It’s also the story of Tommy’s father, Michael, and the relationship the two have over the course of those two decades. 

This story was never planned. Early in 2019, it began as something entirely different. But this young boy nicknamed Tommy kept sticking his head in the narrative. He wasn’t being very helpful, because I was having a lot of trouble with the writing. At first, I fought the writing and the unwanted character; I told myself that Tommy could wait until later. As a sop, I gave him a small part. That was a mistake. Or perhaps it wasn’t.

Dancing Priest

I don’t recall a specific “Aha!” moment, but sometime in the early spring, I realized Tommy was the story. I went back and rewrote the draft. That’s when I realized that Tommy had been lurking there the entire time. The story clicked in my head, and more than that, my understanding of the entire series clicked at the same time.

And that’s the “bitter” part of the bittersweet news, for me at least. Dancing Prince is the last in the Dancing Priest series. It’s the right conclusion to the idea that started in 2002 on an airplane to San Francisco and was first published in December 2011. It’s coincidental, but the 18-year development of the Dancing Priest series almost exactly tracks the 18 years of Tommy’s life covered in this final series entry. 

I’ve lived with these characters for a long time. Michael Kent-Hughes first started as an image, an image of a Catholic priest dancing on a beach in Italy. In my head, he became an Episcopal priest for a short time, and then I moved him to Scotland and made him an Anglican theology student who was also an ardent cyclist. Sarah Kent-Hughes was originally imagined as a young woman in a tour group, who are sitting at dinner when they’re joined by a priest. Gradually she became an American exchange student at the University of Edinburgh, trailing in the wake of her twin brother David Hughes.

David has always been a relatively minor character. But I always inherently liked him, and I wanted to do more with him. He gets a much larger and more important part in Dancing Prince than he’s had in the earlier books. He comes into his own as a character.

Dancing Prince also has something of a pleasant problem. One of the characters writes a story. The story is about novella-length, and it’s too long to include in the main narrative. We’re trying to figure out what to do with it. It might become a bonus section at the end of the novel, or it might be a standalone. The subject is unrelated to the main narrative to the Dancing Priest novels. The writing of it plays a significant role in the development of two characters. I think I wrote it to get it out of my head.

Look for the new book in late spring.

What’s next after Dancing Prince? There’s a possibility of a collection of short stories and two novellas. I also have four standalone novels in various stages of development, ranging from a long outline to 40,000+ words. They’re unrelated to and completely different from the Dancing Priest series and each other.

I will say this: I’ll miss Michael and Sarah Kent-Hughes and their friends and families. You don’t live with characters for almost two decades without coming to learn a lot about them. And learning a lot about yourself.

Top photograph by Jenny Hill via Unsplash. Used with permission.

Six Reasons Why Authors Edit Their Manuscripts

November 12, 2019 By Glynn Young Leave a Comment

Editing has been much on mind lately, and I’m learning that editing requires more of my time and focus than drafting the original manuscript.

I’m working on the fifth, and final, novel in a five-book series. This one has taken more time to write; I’m aiming for something more ambitious than its four predecessors. I’ve been through the complete draft five separate times and worked on partial segments countless other times. I know I have at least two more complete editing reviews before I turn it over to the official editor and publisher.

Editing is meticulous, time-consuming work. Writing the first draft can be exhausting and certainly more exhilarating, but editing is often where the real work starts – and seems to never end. It’s not perfectionism. Instead, editing is a complete mental, emotional, and spiritual engagement with the text you’ve created. 

As I’ve worked through this manuscript, I realized I’m editing for six reasons.

To continue reading, please see my post today at the American Christian Fiction Writers blog.

Photograph by Andrew Neel via Unsplash. Used with permission.

Interview with Wombwell Rainbow

August 15, 2019 By Glynn Young Leave a Comment

I was interviewed by Wombwell Rainbow, a U.K.-based site that features interviews with local, regional, national, and international writers. The discussion ranged from reading and writing poetry to work ethics, writing, and favorite authors.

You can read the entire interview at Wombwell Rainbow.

Writing as Editing, Editing as Writing

August 6, 2019 By Glynn Young Leave a Comment

A friend and fellow writer asked me if I edited my writing as I wrote or after I finished a draft. My answer was yes. I do both. I edit as I write, over and over again, and I edit once the draft is “finished,” if that’s possible. 

The question provoked a deeper thought. Is it possible for me to separate editing and writing?

The answer is no, and I suspect computers have something to do with it.

I was trained in journalism. At the time, classroom technology consisted of Royal manual typewriters. Electric machines were available, but my journalism school couldn’t afford them. I taught myself typing on a portable electric typewriter, but in-class assignments and tests were done on the manual Royals. I can still remember the sound of 20 journalism students pounding on typewriter keys. 

To continue reading, please see my post today at the ACFW blog.

Photograph by Stanley Dai via Unsplash. Used with permission.

When the Story Emerges from the Words

July 17, 2019 By Glynn Young 5 Comments

I’ve been working on a story, and Michelangelo pops into my head.

He has nothing to do with the story. And I’m not writing about art or sculpture on Italy or the Renaissance or anything related to those subjects.

But something happens in the process of writing that story, and it has to do with something Michelangelo said about sculpture.

“Every block of stone has a statue inside it,” he says, “and it’s the task the sculptor to discover it.”

He follows it up with a slight variation: “I saw the angel in the marble and carved it until I set him free.”

I think the quotes were a bit presumptuous, but it is Michelangelo who says them, so who am I to judge?

And then I have something like a Michelangelo moment.

I don’t see a statue in the rock, or an angel, and I’m writing, not sculpting. But I learn exactly what he means.

It seems like I’ve been working on this story for years, and I suppose I have. Parts of it go back a decade or more. Most of it is new, but it has a history, a past. 

I’m well into the story, working it over and over, editing and adding and deleting, and suddenly something almost jumps out from the page. I’ve typed something that happens in the conflict between a father and a son, and I can’t for the life of me figure out where it comes from, because it isn’t in the outline, in my notes, my mental plan, or in any version previous written. 

I stare at what I’d typed. Why did I write that?

Then it hits me. What I’d written was the whole point of the story. It was what the story was actually about, what it has really been about from the beginning. And it has simply, or finally, emerged from the words.

Completely thrown, I reread the story from the beginning, some 90,000 words worth.

It was almost too obvious, except it isn’t. But it’s there from the very beginning, slightly submerged below the surface, the whole idea that the story has been turning toward, never breaking the surface until it almost couldn’t help itself. 

I did not plan this, I admit to myself. Or did I?

I read through section after section, figuratively smacking myself upside the head. How did I miss this? How am I writing a story with the main point that close to being obvious, yet I still miss it until it starts screaming at me?

That angel in the marble had suddenly broken cover. He was out in the open, shaking his head. What took you so long? I’ve been trapped inside this piece of stone until you finally wised up. A little slow on the uptake, are we?

I go back through the story again, closely reading it, seeing the places where it almost emerges but doesn’t. I start editing, to make a suggestion here, hint a possibility there, make a clear-cut indication in another place.

The story has fundamentally changed, but this is what it has really been about from the beginning.

Michelangelo was right.

Photograph by Akash Patel via Unsplash. Used with permission.

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Meet the Man

An award-winning speechwriter and communications professional, Glynn Young is the author of six novels and the non-fiction book Poetry at Work.

 

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